So hanging the blues and yellows took place on Saturday morning.
First thing Friday, I had my scholarship application and portfolio bound at the copy shop, stuffed the sample pieces in the appropriate pockets, and sent them in a trackable post.
Then I went to Figure Drawing, where I had a particularly trying session; we used wet sponges to create multiple tones of washed areas before applying a few lines/squiggles of dry media, to create gesture drawings. As you may have picked up, I love nuances in textiles, but I am not a nuanced person, so there's no need to read between my lines, I mean what I say. Sadly, in a similar manner, whether I use sponges or brushes or dry media, my lines are fairly consistent in width, values and appearance. Which is exactly not what you should do with color washes. Whereas I had big fat lines in uniform width in two grays underneath dark charcoal lines, others had lovely shapes of layers in multiple shades underneath delicate, strong, wiggly or choppy, bold lines, making their drawings oh-so-lovely and nuanced and atmospheric. Ronette demonstrated how to make subtle shapes with sponges, but I didn't get it. I reminded Ronette I come to her class to unwind and relax and she wasn't helping, and she broke into a wonderfully happy laughter. What can I say...
Then I went to Andy Clover's office to show him a shawl and a knee rug for him to choose from for his mother's birthday, and he chose the shawl. Thanks, Andy! This meant I could post the knee rug to Blenheim for a small textile exhibition my guild is hosting during a big garden show called Garden Marlborough. So back I went to the Post Office, around 1PM, and was told it'd cost $4-something extra if I wanted Saturday delivery. Fair enough; I could have sent this last week. Ben offered to drive me to Blenheim Saturday afternoon, but heavy rain and wind was predicted so I opted for the $4-something. Of course on Saturday afternoon, the weather, at least on the Nelson side of the hill, was sunny and balmy!
Then we went to the Red for coffee, and by then I couldn't stop talking; I must have been relieved the only thing left was to install on Saturday morning, and to write up a blurb, contact the local paper, and send a bill to Andy. We came home, I had a lie down, then hemmed the scarves with frequent breaks, and washed and pressed, went to bed at 1AM.
But all of the above is not the point of this post. I was going to give you some possibly-valuable information. I noticed, while preparing the scholarship application that the headings for artists' and art administrators'/educators' resume/CVs were different from what's in a regular, office-job type CVs. I haven't studied them closely enough to see if it's the actual headings or interpretation of the headings that's different, but these CVs had distinctly different feels to what I'm used to. So I was going to list the headings in Errol's and Ronette's CVs with their permission, so they may give you something to reflect on in the event you needed to write an artist's CV.
Except I posted their CVs Friday morning, didn't I. I have Ronette's in soft copy, but Errol's, the only crinkly hardcopy I had is now on it's way to the North Island. So when I get the application back, I promise I'll revisit this subject. I might talk to the two about how they modify their CVs for different purposes, e.g. exhibition proposal, grant application, etc, if I have a chance. It's the least I can do for you.
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