Some thoughts on display

For an upcoming exhibition I went through the artwork I wanted to exhibit. And I had to make some decisions whether to frame some of the work or not. 

Up to now I never was a fan of framing textile work, I do not know why. Maybe because of the tactility of textiles…

But now things changed and I tried different solutions. Maybe the reason was that I need to display a whole series of work, and a similar display does group the work as one. Here some examples of my thinking:

This work was mounted on paper (left). I put it in a photo mount and a narrow metal frame. The textile piece is fixed only at the top. I think the framing adds importance and value to the work and the black mount emphasizes the colours.

In this example the work had irregular edges and the straight edge on the right did not match to the frayed edge of top and bottom. The black mount with the narrow white edge matches well with the work. The dark mount and frame emphasize the flower motive.

Nevertheless for display I will always remove the glass of the frame. It enables loose threads or even layers to flow freely from the work across mount and frame. It would be pressed flat under glass and would not have the same effect.

And then I tried some stretchers  (wooden frame with canvas) which are normally used for paintings. It worked well for some of my openwork fragments and takes the work slightly off the wall:

openwork on stretcher

I used this method for another piece. The surface can be painted in any colour beforehand.

Left: mounted on white paper. Right: mounted on black painted stretcher.

It was good to think about display and framing and try some options which I ruled out before. This opens up a range of new display possibilities. 

Thank You

Thank you to all those of you who came along to see us at the Lansdown Gallery in Stroud in May.  We welcomed visitors of all ages, some who has come specially and some who dropped in whilst passing.

We had some very positive responses and much lively discussion about the themes and ideas behind the work with some interesting thoughts from the children who came along.

One young lad of around 9 or 10 yrs to his friend:-

What do you think this is meant to be?  I don’t know, it could be a skeleton of a backbone.  No, I think it is a footpath.

Caroline Hibbs: The Journey

If I had a ball I could play basket ball with those hoops on the wall

Marilyn Hall: Memory and Time

Thank you for all of your comments in our visitor book.  It is great to be able to look back through these and consider what has been said. Here are a few that stood out as I went through:-

‘Unusual and interesting’

‘I love the space around each piece of work…..Each one so unique and intriguing’

‘Work to make us feel well again…’

‘I like it’   by a very young Rowan

‘A lovely artistic stop on my busy journey through Stroud’

‘…very grateful to see anything that shifts my seeing and thinking…’

Our conversations with you in the gallery and your thoughtful comments help to inform our future thinking and work.

Jean Kirk: Rhythm. Colour. Seasons
Marian Murphy: Tidal Rhythms
Monika Bruckner: Time. Live. Objects
Monika Haeussler-Goeschl:
Ups and downs of everyday life

Time – Live – Objects

Monika Brueckner

To come back into creative work, I started an online course with Katie Sollohub: “Memory of the self “. By working through the different tasks, I came over with blind drawing.  In mind we should go through our house and draw things, places, or objects we remember. The outcome was fascinating. I always stopped and draw objects which relate to personal important persons or events. And the drawings showed my inner picture – my emotions, visible more for myself.  A special bowl – a present of my most loved cousin, the secretary of my grandmother, where the key had to be torn to open the shelf and the play with the Steiff animals could start, an English ceramic vase bought in Chichester during my first workshop with Julia Caprara etc. 

The visit of the exhibition at ZKM Karlsruhe: “Critical Zones” brought up again my interest of Sarah Sze´s work. “Flash Point” filled up a huge space and the visitor could become part of the installation itself. So I did a bit of research and came over to the TED talk of Sarah Sze https://www.ted.com/talks/sarah_sze_how_we_experience_time_and_memory_through_art .She talks about the development of her work and how she tries to present her inner picture. This was the binding point to my memory blind drawings. 

You can´t take a photo of your inner picture, you must find a way to present it. My inner wish was to translate the drawings into 3D which brought up the material wire. After several experiments the best one is aluminium wire, which you can easily bend. 

The cold haptic of the wire doesn´t relate to the inner memories stored in the wire drawn objects. So, I decided to wrap them with different kind of warm wool. 

I tried three different outcomes. Each one relates to diverse emotional situations which have an impact to the stored memories of the object. 

As we all know the memories change over time and so the different versions talk about this aspect. 

As well there is a transformation from cold to warm, sometimes diffuse emotional situations to positive warm ones. 

By an unexpected gifted book about the artist Bettina Lüdicke https://bettinaluedicke.de I will rethink my position. Exiting what this inspiration will bring up. 

Working together days

We arrange virtual meet-ups at the beginning and end of the day to discuss what we are planning to do and then what we have achieved.

A time to think, explore, draw, experiment, continue with ongoing work.

Some of the ideas members are working with.

Figure 1&2  Caroline Hibbs – cloth and stitch

Figure 3&4 Marian Murphy – texture and colour

Figure 5&6 Marilyn Hall – knots and connections

Figure 7&8 Monika Brueckner – design and line

Figure 9&10 Monika Haeussler-Goeschl – images and labels

Figure 11 Jean Kirk – knitting a path

WALKING BY THE SEA

WATCHING THE SUN RISE

Walking to the beach 2 miles from my home is worth every step whatever the weather, standing to watch the sun rise is such a precious and peaceful time. Combing the shore, what will I find; a stone with a hole right through, what made the hole? An empty shell, a piece of driftwood, one day part of a shirt. Was it taken off a boat by a gust or wind or simply left behind on the shore one sunny day?

JUST STANDING ON THE SHORE GAZING!

Gazing at the sea is never dull, it changes constantly, one moment the horizon is a dark line and the next, clouds have blown in and the sea and clouds are the same colour obliterating the horizon for a while.

PART OF THE HULL OF A SHIP BEACHED ON THE TENBY COAST IN WALES

Walking along the beach is fascinating and feeds my creative life. There are shapes and pattern everywhere. Will I use all the photos I take? Probably not! I keep them as an aide memoir because there may be a shape I can use in my work or a colour that would enhance a piece of cloth with paint, dye or thread. The lesson for today is always have a camera to record that precious view.

RHOSSILLI BEACH ON THE GOWER PENINSULA