2024 has been a very busy year, and I have been very remiss
in not sharing it thus far. I do find it becomes tricky between sharing the more
immediate moments on Instagram, and writing articles for TEXTILE Fibre Forum; one
keeps folks up to date to the minute, the other is almost six months behind,
but claims most of my best words, images, and adventures - sometimes it seems as though there is nothing left for here!
It has been a wild ride so far, beginning with the continuing
evolution of work for DistoMorph, my next body of work. For the most up-to-date
mentions of #textileart and related activities, studiosvenja on Instagram is
the place to visit.
I took a break in late March with a trip to Auckland to visit not only family but to see the Guo Pei exhibition. I was not disappointed with any moment of this trip, and I spent a day of wonder at the Auckland Art Gallery, looking at her work from 2005-2020. As someone definitely NOT from the less is more camp, her glorious excess was relished by my appreciative eyes, captivated also by the skill in design and construction of such wonders. I was extremely glad I was able to make the fairly spontaneous trip to witness this, bundled up with visiting long un-seen family members. It was a beautiful trip in every way.
On our return I did another three weeks in the studio before
leaving for Melbourne with Janet de Boer on our pilgrimage to the Annemieke
Mein exhibition in Gippsland Art Gallery. Ours has been a slowly evolving
friendship since the time I first met her when I worked at Craft Queensland in
the early 2000’s, and attending the first meetings of Queensland ATASDA. In actuality,
my respect and admiration for Janet began a long time before that, as
Editor of TEXTILE Fibre Forum, the magazine I devoured during the 90’s, the
convenor of TEXTILE Fibre Forums, and the owner operator of Gallery 159, where
I was fortunate enough to exhibit twice. Since then we have met more and more
frequently, to talk art and textiles in the company of bubbles.
It was therefore an easy task for us to plan a trip down to
Gippsland Art Gallery to visit the retrospective exhibition of the most
influential artist on my career and Janet’s friend, Annemeike Mein. Due to
their long-term friendship, I was able to ride Janets coat-tails along to an
afternoon tea in the house of the woman who set me on this path, who
demonstrated that textiles did not have to be clothes, but could also be
employed as art materials.
I was incredibly happy to meet this amazing woman
who was a) so visibly happy to reconnect with Janet b) so generous in sharing
her time and space with us, c) someone who clearly believed in her vision and
doggedly followed and logged it, with wonderful family support, and d) just
such a lovely lady! I adored watching them reconnect and then getting a tour of
her beautiful attic workspace whilst she was signing our copies of the
marvellous new book that supports her retrospective exhibition, ‘Annemieke
Mein: A Life’s Work.’
Arriving home on Thursday
evening, it was back on the road on Friday to head to Warwick, where I had
been invited to make presentations to students about wearable art. This was
facilitated by the Jumpers and Jazz in July collective – I was involved in
their Wearable Art Warwick event last year, and they are hoping to encourage
student participation in the future.
In the evening I was delighted to be opening Sharyn Hall's exhibition at The Warwick Regional Art Gallery - A Cabinet of Curiosities. I thought it was a great turnout to see her fantastically eclectic new work, which I got to visit in her studio a week or so beforehand.
In more good news, after a concerted effort in the office
submitting applications and slowly chasing them up, I have a skeleton schedule
for my new exhibition, DistoMorph for the next few years. It is encouraging yet
not totally surprising that this becomes easier as I gain more successes, or
should that read, validations. Check my '
News' page on my website for updated venues.
It is a constant battle for me between studio and office,
and I feel grateful for my ability to express myself in words as well as
imagery, as application processes are reasonably demanding for even the most
erudite, not to mention technologically literate. Let alone the spreadsheets
that record when proposals were sent, received, responded to and/or chased up.
It’s an on-going drama of the most unglamorous kind.
With my impending term of recovery after surgery looming in
early May for my rhinoplasty revision, I felt like I was getting my affairs in
order as I tidied-up loose-ends, mostly in my studio. It did feel good to have a clean up and get a
few things sorted out.
I’m now on the other side of that, and although I had lots
of very small tasks lined up to go, I didn’t factor in that one can become very
fractious and impatient when not feeling 100%, which effects the usual work
ethic. Still, there's a few weeks left of being a bit gentle left.
And of course, having received the excellent news that my design has made it through the next round of paperonskin, work on putting the finishing touches to that continues. As usual, there is a fair amount of secrecy involved, so snippets are all I can show for now.
I also had to prepare for my special event coming up in June – a sale of works from my exhibitions and general creations to be held at The Richard Randall Studio at the Mount Coot-tha Botanic Gardens, 11-16 June. Textile art-works from Algalrhythms for the walls, wearable art works for the body, felting, nuno-felting, ice dye and botanical dye. Hours will be 10-4, and credit facilities are available.
So pop in and say hello!