Two weeks ago I managed to sneak away from work early and go see Dijanne’s exhibition at Munich. Her work was breathtaking to look at. Her quilts look great on the website, but even better for real.
But there was one thing that caught my eye. She uses lots of surface treatments which are probably not washable, such as layers of silk tops or gold foiling, and that often on pieces which are too big to be easiely framed behind glass. In the exhibition, everything was hung without frames of course. I don’t really dare to question the work of someone like Dijanne, but I would try to avoid that. In fact I’m working on a sampler that will be like this,because I did not think that much before starting it, but I have good intentions for the future.
Sometimes I wonder how careless we fiber artists are about conservational issues. More often than not, we use happiely whatever strikes our fancy without giving a thought to thinks like lightfastness or manmade materials crumbling with age. I’m as guilty of this as any of you, but sometimes it makes me think twice. Because as a painter, I was taught to only use acid free paper and the best quality paints I can get. Even there I sometimes deviated from the rules for the joy of using fancy papers and other unusual things.
What makes this problem more difficult is that information about the lightfastness and lifetime of fabrics and other supplies is sparse and hard to find, especially when it is about things like polyester organza and fabrics meant for clothes or home decor (and that’s some of my favourite materials).
For me, it’s often the coice between maximum fun and common sense about conservational issues. Or is it hubris that makes me want to work for eternity, which isn’t going to happen anyway?
Do you think about such issues? What are your solutions? I would love to read oppinions on this.
(sorry for the ranty post, and the absence of eye candy)