As well as being members of Phoenix and other groups some of our members also submit work to open calls which they see advertised on websites such as Curator Space or on social media. Here are what the artists say about their experiences of open calls and why they take part.
Jo Coombes
Over many years, I have entered quilts for the Art Quilt category of the Festival of Quilts, the major UK exhibiting show for this genre. Though this is a non-juried entry, it is helpful to consider the competition requirements in terms of finish and size as well as creating a statement to explain the theme behind the work. I think it is important to see one’s work hanging in public and have it validated by an expert jury. The footfall a work will receive at this premier show is truly enormous. The carefully curated categories ensure that it is not just “another quilt”.
I have been fortunate to win a 3rd prize for one of my entries: “Progress” questions the impact of building an ever increasing density of concrete high rise blocks in London.
I have been shortlisted for awards on numerous occasions which is a good validation of my work. “Lockdown,Locked Out” described my frustration at councils and the National Trust arbitrarily closing off countryside to walkers during the Covid period.
I also entered some work for a retrospective of the wonderful C2C studio which had its own display at the Festival of Quilts last year. Peer review is very helpful to validate one’s work.
“Workbench”
Rosaline Darby
For me, making art is all about initiating and sustaining conversations about ideas, and the wider the scope of these conversations, the more interesting they are. This is partly why I find it frustrating always to show my work to the same audience.
My experience with responding to open calls started during lockdown in 2020. We were unable to meet in person, exhibitions were all on hold and I was craving intellectual contact and exchange of views when I came across Same Sea Different Boat and then The Domestic Dusters Project on Instagram.
Taking part in these made me feel much less alone and helped to keep me sane! The conversations on Instagram and the affirmation that my work has received also boosted my self esteem and gave me a reason to keep making.
Rosaline Darby: Same Sea Different Boat
https://suebrownprintmaker.blogspot.com/2020/05/same-sea-different-boat-our-isolation.htmlhttps://www.craftscouncil.org.uk/whats-on/same-sea
Rosaline Darby Domestic Dusters
Since then, I have made two more submissions to the Domestic Dusters Project. All of these have been exhibited in places where I would not normally get to show my work and one is due to be featured in a book.
Rosaline Darby Domestic Dusters/ Profanity Embroidery Group
Rosaline Darby: Domestic Dusters
I have also participated several times in the #oneofmanypostcard project, initiated by printmaker John A Pedder and run on Instagram (a certain number of postcard-sized prints are offered free of charge but in exchange for a donation made directly to the recipient’s chosen charity). Whilst this works on trust so you can never be quite sure if people keep their side of the bargain, it is satisfying to be part of quite a big, pay-it-forward initiative.
Rosaline Darby: One of Many Postcards
I really enjoy submitting pieces to The House of Smalls, particularly miniature pieces for the Dollhouse. The themes for this are always interesting and thought-provoking and I find it liberating not to always feel the need to work in textiles.
To date, I have always made new work for these submissions as I enjoy the making process. However, if I had an existing piece that seemed a good fit for a given theme, I would consider submitting that to give it another airing!
Rosaline Darby: House of Smalls Dollhouse Gallery
Rosaline Darby: The House of Smalls
Maria Walker
During 2020 when all my planned exhibitions were cancelled I started to notice open calls for miniature and digital art on Instagram. In 2021 I discovered The House of Smalls gallery, which at that time was purely a physical gallery in a dollhouse in the home of the curator Amy Oliver. All the exhibitions at the House of Small have a predominantly feminist theme.
I became well and truly addicted to making miniature work which was a new challenge for me as my work is usually large. I have now exhibited my small-scale works in eight separate exhibitions. All my submissions have been scuptural and I mainly make from found objects in my collection.
I discovered that making miniature work was a very liberating experience as it allowed me to test out my ideas on a small scale in the same way maquettes are made by sculptors. The fact that the pieces are physically present in the dollhouse allowed me to see what they would look like in a real gallery. The images of the gallery rooms are so realistic that it has caused some confusion as people believe they are seeing a full-sized version.
Below you can see my miniature version of Blood Moon in the House of Smalls gallery made from thread and a dollhouse scale treadle sewing machine followed by my full sized version which was exhibited in the Art Pavilion in London.
I usually make new work as a response to the open calls as it challenges me to think about new themes and develop new work but in a couple of cases an existing piece of work has been so perfect for the title so I have exhibited it and I still get a benefit from seeing it in the dollhouse due to the change in scale.
Website www.thehouseofsmalls.art
Instagram @thehouseofsmalls
At the beginning of 2023 I was tempted to create a ‘Sweary Duster” where we were encouraged to use profane language on the theme of housework for the open call by Vanessa Marr of the Domestic Duster and the Profanity Embroidery Group. The dusters were exhibited at the Twelve Taps Gin Bar in Whitstable which seemed very appropriate.
I very much embraced the freedom of being able to embroider profanities on a real bug bear of mine.
Later in 2023 I also submitted a digital image in response to the open call ‘My Body in My Hands’ by @theweightofbeing (Sam Lucas and Nick Grellier) to describe how it feels in your body with a body reference object in your hand. As well as being online the organisers turned the images into a physical exhibition which toured around,
Maria Walker: The Weight of Being
I now keep an eye out for relevant open calls on Instagram or on the curator space website and will apply for them if I consider they will enhance my practice or as a way to reach a wider audience .