These days we are in a written dialogue with an editor to support her in writing an article about us and what we do artistically (primarily the latter, of course). We are pleased about the fact that she set out from a well-informed platform, because this eliminates all the basic and traditional questions on how we met, our origin, etc. and allows exchanges of more interesting viewpoints.To support the article the editor asked if we could also provide an image of one of the new works we will be showing in a solo exhibition at the Carrefour Européen du Patchwork in Sainte-Marie-aux-Mines in Alsace, this coming September. 

It was this kind of default expectation that we will produce new artworks for an upcoming exhibition that recalled the initial discussions we had with the management of the “Carrefour”. It is the 13^th time they establish this international event and when they initially approached us with an invitation to exhibit our works there, it was clear that a precedent had been created during previous years for requiring from artists that they produce new works for that specific exhibition.

 The way we work does not allow for that. We cannot and will not rush into production of an avalanche of new works with the primary goal of occupying a certain number of square meters of exhibition space with “new” works. We found understanding for this, and Inge and I are presently deliberating on how we can best compose an exhibition from our available portfolio. Our aim is to curate an exhibition, which will be interesting for viewers to visit and spend time in, be inspired of and which will give viewers space to think the works further on an individual basis.

This is what should count, and not whether the exhibition brochures can feature “NEW”-signs in fiery characters.

 This expectation, requirement or pressure on artists to produce new works for upcoming exhibitions is widespread in the quilting world – perhaps also in the traditional art world – I believe it is…

Why is that? Why is that, when preference in the music world, for example, generally is to listen to well played pieces of long departed composers like Mozart and Chopin, or suppliers to Elvis and Buddy Holly?

 Yes, we know the argument: “Viewers don’t want to see old things. They want something new!” – But we do not buy this argument. Yes, people do usually not want to travel to see the same piece by Picasso or Gaugin again and again. But when their works are on display in well curated and maybe themed or dialogue exhibitions people do travel from far away – in large numbers – even bearing over with long line up times at the ticket-office. 

Why must artists working with textiles as medium and quilting as technique necessarily be marketed like toothpaste, kitchenware, computers or cars with “NEW”-labels on? Why are expectations not redirected to curators (including artists acting in this role) of exhibitions and reformulated to establish interesting exhibitions that the media and viewers want to communicate about in substance?

Closure – Endurance – Aftermath

Confidence – Equilibrium

Departure – Separation

Emotion – Tranquillity – Closeness

Decoupling – Distance – Reflection

Sandwich – Lounge – Flight – Paris

Release – Emotion - Distance

Plans – Repetition – Experience

A first – A second

Arrival – Terminal 2F – Synchronization  

(…words that came to mind on flight AF 2269 from Manchester to Paris – after 5 days on the West Highland Way with Roland)

Some people can decouple themselves from the surroundings of a jam packed metro or a busy airport and submerge into the world of a book or a piece of music from an Ipod – some cannot.

Inge cannot. She is constantly observant and aware when she is on the move. But I can, and it was my belonging to the first category, that made me miss my usual change of Metro lines at Odeon and not becoming aware of that fact before I looked out of the windows at Saint-Sulpice.

I was reading an article in an older issue of the Beaux Arts magazine on the inspiration the author Hergé had found in diverse art forms for his strip cartoons – from the stylistic decorations in the pyramids to the 60’ies and 70’ies modern art. It was in particular interesting to see how Hergé had interpreted this inspiration in his illustrations of the adventures of his hero, Tintin.

I believe that Hergé included this form of art not only to add a certain authenticity to the story-lines of the adventures, but also because he found it amusing to do so. The inspirational art sources discussed in the article had been integrated seamlessly in the typical style of drawing and motif compositions that could be said to be the hall mark of Hergé. Whereas the sources of inspiration could be clearly defined, Hergé maintained his artistic integrity – in other words not just copied or reinterpreted. The relation with the sources remained at the level of inspiration.

 Did the inclusion of art in the adventures of Tintin seem odd to the readership I wondered, and the first thing I did upon arrival in the office was to check this out with two colleagues of French and Swedish origin, respectively, who grew up with the Tintin strip cartoons (which I did not). They assured me that the contrary was the case.