ATA Fall Newsletter pg8

occasional solo shows, Barbara shows in the Granville Island gallery that she and Kaija share with a basketmaker. Marcel organized his discussion according to the international, national and regional exhibitions and events in which he has participated. His evolution from displaying work in group exhibitions to two-person and solo shows has provided a certain artistic freedom, which he prefers to commissioned work, he says. Also, he acknowledged that he strongly values traveling and developing relationships with show curators and with fellow jurors and exhibitors, stating simply, "I believe in friendship."

Questions and Answers

A lively discussion period followed the presentations. I will mention only two of the many topics addressed. Someone asked whether a trend toward smaller tapestries was occurring and why. Panelists generally agreed, although Barbara noted that she selects size according to the image's needs and often alternates between large and small projects. Kaija said that because much work is sold through galleries and studios, small work is more likely to sell and to fit the scale of buyers' homes. Marcel also emphasized that fewer occasions to show large works exist, given the demise of the Lausanne Biennale and other major venues. Thus, weaving is often reduced to a more intimate scale.

Another audience member asked about the preservation of tapestries and artists' obligations after a sale or commission. All agreed that soiling and light are the biggest challenges. Museum and gallery environments are generally more controlled than homes and businesses. Artists should provide galleries and clients with instructions for tapestry care, but also must monitor the installation and maintenance of their works themselves, because no one cares as much as they do. Regular communication with tapestry collectors, when possible, is important.