a find!

I hadn’t come across sarah-marie belcastro or Carolyn Yackel before, but yesterday I stumbled over this book and simply had to buy it…

It’s always good to enhance one’s modest library of temari books, but that is not really the purpose of this volume. The authors’ interest is in linking mathematics and craft and this is apparently their second book on the subject (I haven’t seen the first one Making Mathematics with Needlework, but I’m keeping my eyes peeled). It includes a chapter on temari and symmetry, but also chapters on helical striping for knitted hats and socks, dissecting rectangles for crochet, cross stitching using group theory and many more things. I think my favourite is the tatted fractal doily. They suggest ways for different audiences to use the book and they’ve done a lot of work developing projects suitable for schools, but I like their note at the end of the introduction:

Of course, the readership closest to our hearts is mathematicians who craft. We have no advice for you in how to approach this material; you already know.

How true.

On a sadder note, Lava Flow didn’t get selected for the exhibition (in spite of her marvellous packaging!) but I can’t say I am terribly surprised. And not being surprised means that I am not really that disappointed either. I didn’t think my chances of being selected for a general art exhibition, as opposed to a textiles or a craft one, were very high. However, they have done one rather odd thing, which I am not happy about.

The Ts & Cs on their website give a location for you to pick up your work if it is not successful and then add

We propose that unsuccessful works will have to be collected no later than Monday 15 August 2011.

Well, that’s fine, and that is what I was expecting to do. But in their email to me yesterday they seem to have changed their minds, and now say

We will store the work here in Aberdeen until after the exhibition. We will be in touch nearer mid September to let you know when we can organise the drop off and also an approximate cost to you.

which is, frankly, out of order since we had entered into an agreement which included the previous plan. I wrote to them to say that I wished to collect my work as originally outlined in the Ts & Cs and to ask them when would be convenient, but so far have had no reply*.

I’m very new to exhibiting and jurying and so on, but this seems to me to be quite an extraordinary proposal. Had it been in the terms from the beginning, I am not sure I would have taken the risk of sending my work at all. Am I being naive here? Do curators routinely lock people’s work away for six weeks or more when they have no intention of using it?

Back at the loom, however, things are going pretty well. 592 ends in a straight draw on 16 shafts is not the most exciting of threadings, but I’m loving my Kindle audiobooks. (Almost but not quite as much as I loved the test match commentary over the weekend!)

*Update 6 Aug 2011: I’ve had a nice reply from the organisers who are happy for me to pick up my work next week. I think they must be genuinely unaware of how unsettling their change-of-plan sounds to the recipient.

a find!” was posted by Cally on 4 August 2011 at http://callybooker.co.uk

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7 Responses

  1. Bonnie Inouye
    | Reply

    Cally, thanks for sharing this book title and image. Sounds interesting!
    I hope you know about this website for temari:
    Rod has some beautiful designs and his temari are nicely photographed.

  2. Evelyn
    | Reply

    The book looks very interesting – will be lookiing for the results 😉 Thanks for the link and thanks to Bonnie for the great link to the temari blog.

  3. Meg in Nelson
    | Reply

    That’s extraordinary that they want to hold on to your work longer. I’d consider it if they proposed something in addition to storing, but I’d definitely demand it back. Usually with exhibitions it’s the other way in our little town, i.e. “I can come x hours/days later, can you please store until then?” which is usually fine with events I’ve been involved in, but your situation does seem very strange.

    Anyone else experienced anything like this?

  4. Dianne
    | Reply

    I’ve had work not accepted for exhibition held over till after the exhibition “so it could be returned at the same time as the accepted item” in a national Creative Fibre exhibition. I was very cross as I didn’t know it wasn’t on display and if I recall it was through a busy long weekend when I could have had it on display in my studio I had at the time. I do think things are more professionally done now.

  5. Kerstin
    | Reply

    I, too, know of “galleries” holding all work until the show is over. However, that was/is noted in the terms from the beginning. (Which makes *a lot* of difference, IMO!)

  6. Stephanie
    | Reply

    Is it possible that the notice you received was for the accepted artists and it was sent to you in error? You may want to give the gallery a call.
    Love your work!

  7. Cally
    | Reply

    Thanks for all the feedback re exhibitions and their funny ways… I agree with you, Kerstin, that the timing *does* make a difference! But I have now had a nice response from the organisers who are happy for me to pick up my work, so I guess they didn’t think through how their email would sound. I’m planning to reclaim Lava Flow tomorrow, so fingers crossed.

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