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| Calendrier de l'Avent 2012, ©Manuèle Ducret - Filambulle |
Voici une petite broderie datant de 2003, représentant notre famille lorsque nous n'avions qu'un enfant. J'aime bien le fait qu'il y ait cinq cœurs, comme un pressentiment que nous serions cinq.
Vous pouvez me reconnaître, avec un oiseau chanteur, et mon compagnon avec une guitare. Notre fille est entre nous, et nous lie. Les mots viennent d'une chanson de Georges Brassens, dont les premières notes sont aussi notées.
Si je me souviens bien, j'ai gagné un prix assez important pour cette broderie, créé à l'occasion d'un concours de broderie sur le thème des chansons.
Je pourrais créer un nouveau tableau avec notre famille au complet. Nous verrons.
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This is an embroidery I made in 2003, representing our family when we had only our daughter. I like that there is 5 hearts, it's like a premonition that we where going to be five.
You can see me with a singing bird, my partner with his beard and a guitar, our daughter between us, linking us. The words are taken from a song by Georges Brassens, who was one of the three most important songwriters in the french music history. It says approximately: "A little corner of paradis, for a corner of the umbrella".
If I remember correctly I won a good price with this one, in a song-themed cross-stitch competition.
I may create a new one with our whole family now that I've taken back my embroidery needles and threads. We'll see.
"The other exhibition we often refer to and liked was “Clinch,” staged in 2004 at Denmark’s national gallery (Statens Museum for Kunst) in Copenhagen. Here, the interesting factor was the play between artworks (paintings, sculptures, installations) from the museum’s collections and archives, chosen by the individual artists, and the works of the artists themselves.
The fil rouge of this exhibition was that the participating artists could select works from the museum’s archives and collections—typically older works, some dating back 200–300 years—to match or confront their own artworks. This idea was brilliant, because it allowed for a very rich and interesting encounter with the exhibiting artists, not only through their own works, but certainly also
through the works they had chosen as artistic accompaniment. We think this idea could be adapted to our corner of the art world and provide visitors a very enriching experience. it would also be interesting for the artists, the curators, the gallery, and the press."
When you know what a sponge bar is, how it works and what you can do to replace the one in your vintage knitting machine, you are ready to make it work.
Also, cleaning and oiling 200 needles is not fun, but it is worth it.
