Liz Arnold, Patricia Amour, Marilyn Rea-Menzies and I had a very good exhibition as far as visitor numbers go. It was also a very interesting exhibition from a technical point of view, as we have all developed such a distinctive individual style both in technique and subject matter over the years. For me personally, having the opportunity to see the actual work rather than viewing it on-line was such a treat. The tapestries had a presence and clarity of perspective that can only been seen in its fullness and richness when viewed in real life.
Tapestry weaving does not enjoy the same high number of practitioners among the weaving fraternity here as it does in other countries, and so I especially hope that this exhibition helps to lift the profile and mana of tapestry weaving here in NZ. Marilyn, Trish and Liz have kindly allowed me to show their work here on my blog, so thank you to you all for the opportunity to share our work here.
Also a very big thank you to those who were so generous with their time and help on the day of the opening.
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| Close-up detail of manuka flowers. Section of Tapestry by Marilyn Rea-Menzies. In the gallery these flowers had a 3 dimensional quality when viewed from across the room. |
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| Close-up of tapestry weaving by Liz Arnold. I had seen this work on line and never fully appreciated the exquisite detail. |
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| Close-up detail of tapestry weaving by Patricia Armour. These works were far more textural than I had imagined when seeing her work on-line |
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| Who's Ya Mama? My own work, finally I had the incentive to get this weaving off the loom in time for the exhibition. |
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Me and Marilyn taking a breather after the job of hanging.
After initial reservations about how to go about it with the hanging equipment used by the gallery, the hanging actually ended up being one of the least complicated and stress free I have been involved with.
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| Jenny hard at work preparing the work ready for the opening. |
Wow, they all look fantastic!
ReplyDeleteDo you frame your pieces under glass?
Hey Michelle,
ReplyDeleteMost were sewn on to black painted canvas on stretchers, and then plain wooden framed. However I really do like to put some of the smaller or finer work behind glass. It is still a bit of a sticking point, however I personally think some work needs a bit of preciousness involved.
Some high end galleries won't relate to it as art at all unless it looks like a painting to them, GGggrrrr... although that is not necessarily why I do it.
Aaah! I think both methods look great - I guess it's all about experimentation, depending on the piece :)
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