Pearls

It’s the time of year when you realise with a start that all the major exhibitions you’ve been meaning to see all winter are about to close. Pearls at the V&A ends on the 19th.

It wasn’t a particular “must see” of mine, but a friend wanted to catch it and I tagged along for the ride.

Reader, if you have been meaning to see it but haven’t got around to it, I would avoid the last weekend absolutely. There will be an incident.

Lesley remarked that the V&A seemed to have spent more time considering customer flow patterns in the shop than in the exhibition. It really is the most cramped exhibition I have ever attended in London, and that is quite a competitive field.

Museum exhibition designers just don’t appear to think about crowded conditions. The experience is just so miserable.

Here we have a quite frankly awesome collection of gems from all over the world - featuring some unique and historically very important examples. They are all, obviously, tiny and need close observation.

So let’s put them in a dark room. Why the dark? Does electric light fade pearls? - and then place screeds of text in small fonts at the bottom of each display case. Viewers will then cluster round the display case blocking the view of others behind them. Meanwhile, those others are casting shadows across the text panels, making them hard to read and making sure that the people in front spend even longer in front trying to work out what number 6, 7, 8, 24 is and what it all means. Cleverly, I had picked up one of the large-print exhibition guides (with all the exhibition texts) on offer at the entrance - it helped a bit, but it still was so dark that reading even this had difficult moments.

There was no room to move about on your own volition - visitors are funnelled though from start to finish. Think Ikea, but in the dark and in rush-hour tube conditions. I started to panic halfway through.

One feels that fewer exhibits given more space to breathe might have helped - but it would have been a pity to miss some of the really wonderful examples the curators had assembled. The V&A really need to have given this whole show more space.

This issue does seem to recur in recent V&A offerings. I recall desperately cramped sections of the Hollywood costumes show. Very clever, varied design helped the David Bowie show a lot (also, I went to this multiple times so could skip bits that were too crowded, catching them on a second or third visit as necessary. I’m a Friend and can do this - my sympathies to those to have to shell out quite a lot nowadays for a single ticket).

Rant over.

The show is beautifully curated and the organisers seem to have gone out of their way to be super-educational on all aspects of the pearl industry. I noticed this trend at the Museum of London’s Cheapside Hoard exhibition as well - almost as if there is some guilt involved here; the educational content makes up for all the luxuriating in the frivolous trinkets of the super rich. Actually, comparisons with the Cheapside Hoard show are apt here because their display was far better organised than the V&A’s Pearls. But I reckon security is the big unspoken issue - the Museum of London has turned its entire exhibition room into a strongbox; here at the V&A each display case was its own safe - no doubt locked up every evening for protection.

Two things I learned about pearls:

1) No pearl is created by a grain of sand irritating an oyster. Instead, pearls seem to be a response by the animal to parasitic invaders - usually tapeworms. The oyster captures the invader in a cyst which continues to grow until it becomes a pearl.

2) Every shellfish can make pearls - but most usually and frequently bivalves. And not just oysters - the humble mussel can too.

I was quite staggered I hadn’t known about the parasitical origin of pearls before. But I suppose it’s not in the interests of the industry to promote that knowledge - not something their customers would enjoy knowing, wearing a pearl necklace!

Quilts

Quite surprisingly, the Quilts exhibition at the V&A is the first in the museum’s history. Nevertheless, the museum is clearly preparing for a blockbuster, with yards and yards (literally) of merchandising opportunities in the gift shop as you exit – the V&A has produced swatches of limited-edition fabric samples for inspired exhibition goers to get quilting with; books on how-to-quilt, as well as the exhibition catalogue. Of course, the bookshop also has loads of other quilting books to choose from.

My company got complimentary tickets from the V&A and my colleague Stu and I were gagging to go – strange really, two guys (one straight) instead of all the girls . . .

The V&A has clearly put a lot of work and thought into the show, and the results are stunning and amazingly inspirational.  The show gives an overview of the historical context and development of quilting, plus very specific insights into the stories of individual pieces – quilting seems intrinsically to sew stories into the piece, as the quilts were made for specific people, to commemorate specific events, were made from material recycled from other projects which had their own stories – and were ultimately handed down through generations and thus embodied family history.

As we zoom headlong recklessly into a future with a fraction of the resources than we currently enjoy, it was great to see how people’s relationship with the material world was actually richer then than now – every scrap of fabric was prized; saved for reuse in a quilt; every scrap of paper too as the bedrock of the quilted patch (even if most of the stories of women using their husband’s love letters appear to be fabrications – most of the papers used were old tradesmen’s bills). This was recycling on the level of the individual household – ingenuity was used to rework one obsolete item into another, more useful one.

This aspect inspired me as much as the beautiful workmanship on display.

As a counterpoint to this, the V&A has commissioned new pieces from artists – there are quite wonderful pieces by Grayson Perry and Tracey Emin. Emin’s done a new bed; far more sumptuous than the infamous Tate one of the last decade. Perry’s piece was quite small but packed an emotional punch. It’s a pity the show didn’t have his new tapestries, but I assume they were simply too large to exhibit in the relatively intimate spaces of the V&A temporary exhibition rooms.

Quilts: 1700-2010
Victorian and Albert Museum
20 March - 4 July 2010

crafty me

This Spring has seen a veritable renaissance in creativity at Hedgie towers, especially in the textile arts.

Many years ago on the bus to college my dear friend Ingrid taught me to knit. Ingrid was a free-form jumper knitter – she never followed a pattern and just seemingly randomly used different colours. The results were always amazing; true works of art.

So recklessly I threw myself into knitting jumpers – not a traditional start for the novice knitter. Of course unlike Ingrid I always followed a pattern religiously. The repetitive knitting experience soothed the stress of studying for exams. My first jumper ended up miles too big – tension issues – and I didn’t like the cut of the neck of the second.

Then I moved to the UK to complete my education and was seduced by a Kaffe Fassett exhibition at the V&A. I launched into his Persian Poppy pattern vest.


The colour work I took in my stride but Kaffe’s basic sweater patterns follow the divide-for-neck at armhole level formula that I hated in my second sweater. Altering a pattern to raise the neck was a bit daunting, Ingrid was a continent away, and work on the sweater was abandoned at this point. Some twenty years ago.

However, a rare attempt at spring cleaning recently revealed the wool stash and on a whim I just starting knitting a scarf – quite the easiest thing to do.


This led to me looking at the poppy vest again. I plotted every stitch on a graph sheet, and hopefully now have an altered neckline that will work. So the poppy vest is going to be finally completed! Woop!

Meanwhile, my freeform stripey scarf led to me trying a stripey hat to match – less successful, but still quite fun. I want to do stripey gloves now to finish the ensemble.

All this knitting activity was egged on marvellously by web 2.0: YouTube helped with knitting primer lessons and a twitter friend referred me to the
Ravelry site – networking for knitters! It’s speeded my progress up amazingly.


But, that’s not all! My textile activities are expanding . . . but that’s another post . . . .

Merry Christmas

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Salt dough goodness inspired by Kirsty Allsopp's homemade Christmas! I used satin finish white spray paint from Paperchase to coat them. Was going to finish them off with silver doodlings, but felt they look quite good as they are!


More homemade Christmas - Nigella's iced Christmas tree decoration biscuits and a festive batch of Christmas fudge!

Wishing you a very Merry Christmas!