Exhibition advertising

 

I’m having a solo exhibition in September for the body of work I’ve produced during my PhD. It is called ‘The domestic veil’ and will be in The Crypt Gallery, St Pancras, Euston Road, London from 8 to 12 September 2015 – put it in the diary now! It seems a long way off and I’m still finishing off the thesis, but having just received a selection of magazines I subscribe to, I realise that I have to think about advertising now. Many of the magazines are quarterly or bimonthly and some of the deadlines are at the end of May. Both Crafts and Embroidery are published in July and September so I’m aiming for their September issues in the hope that people might see the listing and decided to visit. I’m worried that if I advertise in July people will have forgotten about it by September! However for the quarterly magazines, like Lace, I’ll have to go for the July issue. Nearer the time I’ll also have to start advertising on the internet but I think for now I just have to meet those magazine deadlines.  

Reusing titles

 

I’m putting in a proposal for an exhibition and have been trying to think of a good title for the work I’m proposing. The problem is I’m extending the idea of my ‘Thread of life’ piece (detail above), which is a silk paper dress with lace embedded in it, to a mini installation of three similar dresses linked by thread. The original was just one dress but I think the three new linked dresses will strengthen the idea of the continuity of life. My problem is that ‘Thread of life’ would be a great title for the new piece of work but I’ve already used it for the previous piece. Is it acceptable to reuse a title or should I call the new one ‘Thread of life 2’ or ‘Threads of life’ or try and think of something completely different? On reflection I think it would be too confusing to reuse the old title because I might still want to show the old work as well. I’ll have to think of something new!

Ghost lace

 

This ‘ghost lace’ made from dust and a paper doily took months to make – the difficult bit was remembering to leave the doily in place and not move it while I was doing other things in the studio. There seems to be an interest in ephemeral lace at the moment, mainly with all the work being done by NeSpoon and graffiti lace. That work and my dust lace are both based on the same principle of using a template and spraying paint or sifting dust through it. It’s not a new idea – I remember my mother dusting icing sugar through paper doilies to decorate sponge cakes. Interestingly, Cal Lane says that her interest in lace was based on that technique of cake decorating and it inspired her to make some of her first lace pieces.

Machine made lace

 

Since my research into net curtains started I have become interested in machine made lace, both the mechanics of its production and the beautiful lace that results. The image above is part of a panel showing Nelson’s column in Trafalgar Square and what I like about it is the clever way the shading and depth of design are achieved (which I hope you can see - the image looked fine on the computer but not so good in this post). Most of the information I have gleaned so far comes from the books and research carried out by Pat Earnshaw. From her I discovered that the Nottingham Lace Curtain Machine which produces not only curtains but other large scale lace furnishings, such as bedspreads and tablecloths, was invented by John Livesey in about 1846. The feature of this type of lace is its ability to produce large pieces of lace and its straight sided mesh as opposed to the hexagonal mesh of the Leavers lace machine. By 1851 there were 100 curtain lace machines in operation in the Nottingham area and many lovely curtains were displayed at the Great Exhibition in London that year. My next step is to find out how they achieve that lovely shading.

Forensics: the anatomy of crime

 

This is a fascinating exhibition at the Wellcome Collection, much of it dealt with the science and history of forensic examinations, which was interesting, but I also enjoyed the artistic elements too. In particular Frances Glessner Lee’s miniature dioramas of crime scenes ‘The Nutshell Studies of Unexplained death’ which were made as teaching aids for detectives. Alphonse Bertillon’s photographs of victims were harrowing yet artistic as he used a very high tripod to capture them creating an unusual ‘God’s eye view’ of the crime scene. In contrast to these real images, Corinne May Botz had recreated and photographed crime scenes using dolls as victims, her ‘Dark bathroom’ was quite unsettling. Perhaps because the images were staged it was easier to examine them closely and take in their full power rather than exploiting the images of the real victims. Jenny Holzer’s ‘Lustmord’ was a very dramatic and moving installation protesting about the use of rape as a weapon of war in the Balkan conflict. It consisted of a collection of disinterred bones laid out in rows on a table, many of which were labelled with the name of the victim, the perpetrator and an observer – a powerful reminder that forensic science can retrieve evidence and claim justice for the dead. The exhibition runs until 21 June and is well worth a visit.

Silk paper for TB lace

 

I spent yesterday making silk paper for my series on dust, decay and disintegration and it is now in the garden drying in the sunshine, as you can see in the image above. I’m combining lace, silk paper and fabric to make a series of curtains expressing the idea of dust clogging up the curtains and eventually extinguishing life and turning the airy fabric to brittle paper. I started with the first piece yesterday, attaching the lace to the silk paper. I started by adding threads to the lace, to use as anchors, which I could embed in the silk paper (see below).

 

I then laid the lace on a piece of net on a plastic sheet and started adding layer after layer of silk fibres. This is a slow meditative process so quite relaxing, but the threads tend to float about in the slightest breeze so it’s important not to move quickly to generate air currents. Once I had a thick enough layer of fibres I sprinkled dust on them, to suggest the clogging up process, and covered the entire piece with another layer of net.

I then sprayed the whole thing with a fine mist of water and then with a dilute silk fibre medium (see above). Once the spray has been added it’s important to ensure all the fibres have been coated so I use dilute medium and a brush to make sure the piece is wet through, then leave it to dry. By this morning it was dry enough to move off its plastic backing and take it out into the sunshine, because the two outer net layers keep everything in place. With the help of the sun it should be dried out later today and I’ll be able to remove the net layers. I’ll keep you posted on the progress.

Textile conferences

I’ve been to a couple of conferences in the last two weeks (The erotic cloth and the Textile Society research symposium) both fascinating in different ways. The speakers at The erotic cloth were mainly established researchers in the field, while those at the Textile Society tended to be PhD students talking about their research, so the day did not have a theme but gave an interesting overview of current textile research. There were many interesting papers at both events, but those most relevant to my work included Angela Maddock’s talk about folds and cloth related to Giovanni Battista Moroni’s painting of Il tagliapanni (the cutter of cloth). I also enjoyed Claire Jones’ depiction of cloth and puberty in Victorian marble sculptures which linked to my research into the animate and inanimate. Samantha Broadhead’s paper on the fetishizing of cloth in Hitchcock’s film Rebecca also included some very atmospheric net curtains, while Grace Williams’ research into the use of fabric in stage magic and disappearing women, contained some wonderful images of carpets concealing bodies, both in her own practice and that of Anette Reimer. At the Textile Society day, I was interested in Alexandra Lester-Makin’s research on early medieval embroidery, because I am interested in this period of history but also because she discussed the idea of objects having a life, a theme she explored from an archaeological point of view, but one that interests me from a practice and fictional stance. Both conferences were stimulating and varied and were great opportunities to discuss ideas with fellow textile researchers.