Material Witness will focus on extreme textile process. Images will be posted here showing the history of my work, new work, developing projects and inspiration.

Sunday, May 18, 2014

Keeping Track

I have recently learned it is so important to keep documentation of my work.
It is also important to keep track of  display techniques. Two reasons that I can think of.
Physical theft and the theft of ideas.

I take huge pride in how my work is displayed. The display enters into the narrative. It frames my story.
It delineates the pieces from one another but leads to the whole.

Documentation is also important for portfolios and for legacy.

Two things have happened lately that make me very glad I have done this in a clear enough way to be helpful in a legal way and in terms of cataloguing. I came upon a show where the "artist" had lifted not only some of my imagery but took liberties with two of the titles from pieces of my work, the name of a show I had done previously and at least two of my display ideas. One a very unusual two sided glass shadow frame my Father-In-Law invented (I have the drawings)  and back lit large shadow boxes laid on their backs. She threw in a wasp's nest or two for good measure. Wasps nests, wasp paper, hives and  wasp imagery show up in every single show I do.

The artist had visited my gallery a couple of years before and had explained that I had articulated perfectly what she had been trying to say and had asked to photocopy my artist's statement. I said no. She stood and copied the whole thing by hand. And blithely signed my guest book telling me how much she admired my work. There is a photograph of her with the work much to my lawyers delight. Ironically her work was done to talk about a lawsuit she had won. My legal friend loves that too.

Film Maker Ivan Hughs, Me and Curator for the Into the Woods Show in Squamish Art Gallery
I had at first thought that the said artist was simply a neophyte twat who was just trying to get into any show she could. Her work is poorly thought out and executed and the show was not ju
ried. Upon further explanation by an artist friend the said twat turns out to be a professional art educator who should have known better.

I am not sure what I will do with this. Not sure it is worth my energy at this point in my life. She is such a manipulative person that she has seriously pissed off more than me. And she is now being watched by other more respected artists. The curator of  the group show she was in has contacted me and offered me a solo show. He said he has dreamed of showing my work for years. He had previously insured my work was sold and displayed by the then Minister of Culture in her office.

I now have a professional archivist who has spent years documenting work at the Textile Museum of Canada. I have a respected curator and an agent. And I have someone who is a loving caregiver and professional artist who wants to find a permanent home for my work. I never thought my work would require this but I am now classified palliative in terms of my cancer prognosis. My capacity as an artist is becoming more limited.

But I have been invited to show all over this spring. Internationally, locally and in different galleries across Canada. Too exciting to seriously worry about wasp parasites.
Shadow boxes used for the show "Underground" in the Britannia Beach Mine. Seen by thousands and filmed for three documentaries for T.V. including a film.
Me and Kris with some of the hive shadow boxes and my display for the" Into the Woods" Show.
A number of pieces here from the "Wonderland " Show.

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