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ARTIST STATEMENTS

© Alison Schwabe

Ozquilt Network Newsletter Issue #38 December 2000

In my computer, ready to print out, I have shorter and longer versions of general comments on my works' themes, inspirations, offering a bit of insight into why I do what I do, with brief mention of a range of techniques one might find in one of my pieces. This is my artist statement. Computers being the marvels they are, it's easy to revise one from time to time, or tailor for a particular purpose. I certainly feel in an exhibition it is helpful to those attending to have further information in addition to the title and dimensions, to enlighten or enrich as they wander around the show. But for the selection process I am in favour of the slide with its visual impact, plus the title, being the only material on which the jurors base their choices. They are, after all, selecting pieces which will go together to form as strong, unified, coherent a collection they can make from what they have on offer. Organisers so often ask for a statement, and I often wonder why this is so. Is this just because it is standard in traditional quilt exhibitions?

Barbara Macey, in our last issue, 'Entering Exhibitions', presents some wise advice on these statements, and concludes with "sometimes no statement is the best option". However, I put to you that it is a rather brave, confident entrant who leaves that part of the entry form blank. The question being whether the statement will influence the juror's selections and if so might selection exclude those who make no statement? The only time I left that section of an entry blank, my quilt was selected and hung, but the photo was left out of the catalogue; coincidence?

The flowery fulsome gobbledygook so popular in many of these statements suggests most believe it may have more impact if it contains enough artspeak. There are so many examples of contrivance and insincerity around one doesn't have to look far to find them. Despite being obvious, they still make it into the catalogue and books apparently unpruned. They do not improve a poor design or colour selection any more than they impact standards of workmanship. In short, they do not make a visual piece more creative, artistic or 'successful'. Perhaps we could have some discussion on this?

© Alison Schwabe 2000

 

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