I know I can’t be alone in the feeling that as each year passes, time definitely goes faster… First thought on waking this morning was ‘No! not the last day of 2005 ‐ I’m not ready!’
In truth, my head is probably still hovering somewhere around early May. When you’re six, the summers drift on lazily forever. Now, some months seem to end before they even start. A theory: When you’re six ‐ a year is a sixth of your life; when you’re sixty ‐ it’s a sixtieth.
Quite a number of people – off and online – have been posing the ‘which glue’ question. I am absolutely not an expert, so in no way should this be taken as the definitive solution. The glue I use is PVA, widely available from art / stationary shops. Before I embarked on such a major body of work, I ran a number of trials using this and other adhesives. I also contacted a number of professionals for advice ‐ including the Head of Sculpture Conservation at Liverpool Museums. PVA was generally considered to be a good choice.
I had not appreciated, until I was invited to visit the Textile Conservation Section last week, just how much shared ground there would be. Susana’s and my paths had crossed some months earlier during one of my first research sessions in the textile store. I remember beautiful, highly intricate, Greek embroideries were being selected from the archives for future exhibitions. Many times I’d looked fleetingly through the tall windows into the conservation studio whilst passing along the corridor. Large, light space, quietly industrious – it looked fascinating.
Sue Lawty’s work has an immediate appeal to me as a textile conservator and a student of textiles.
There is an absolute beauty and serenity in the order created by Sue’s careful sorting and understanding of the elements chosen by her, be it textile fibres or found objects, uniting them and transforming them into her own original creations.
Warp and weft relationship, interlocking, slits, tension, damaged areas, and the many more features which can be found in a textile are identified by Sue and extracted to create a new and original piece.
Running this morning in the pouring rain and mud led me to contemplating…
just WHY is it so good? I think it’s to do with total engagement: The primal, fundamental contact with air, wind, rain, mist, sun, warm, cold…
The unrelenting and direct contact with the ground – treading every inch of the route – hard, uneven gritstone; squidgey moorland mud; forgiving feel of forest floor…
And the strong sense of being there ‐ IN it (as opposed to looking at it).
Very good two day symposium in Harrogate last Thursday and Friday. I so nearly didn’t book ‐ juggling and justifying the expense to the last minute…but being there served to affirm the fundamental value and importance of such events in a creative life.
The focus: “ 16 leading international practitioners, curators and historians discuss the possibilities for creative expression arising from the interplay between collections ‐ collecting ‐ collective memory ‐ collective constructions.”
!! Excellent presentations from Japan, Australia, Europe, U.S.