The lead into a show starts slowly. Over 9 months, piles of unstretched canvases and a small stash of works on paper gathered. Twenty one works were professionally photographed, then delivered to my framer.
Frames were selected and the framing workshop was ‘like Lindi’s factory (without the assembly line).' Works were embalmed in protective wrapping, ready for gallery delivery.
In the gallery space, and working with a specialist installer, works were laid on the floor and possible layouts were trialled. I was led into the contemporary and adventurous world of the installation process. First move was to take out four works!
The triptych ‘Singing Indigo’ was the hero piece, measuring 3m (W) x 1.5 (H) and the first work to be installed. On the wall, the work looked strong and uniquely beautiful; the crisp white frames of each board barely touching.
After playing with various concepts for 6 framed works on linen, and problem solving how to work with the minor discrepancy in sizes, we pushed the works into an edge to edge install. With colours clashing yet complementing each other in creative conversation, the 6 works became one. I was in love! I don’t envisage a separation! Ever!
Breaking for lunch at the restaurant above the gallery, I noticed the otherwise ordinary tiling design which imitated the meeting of frame corners of the six works hanging tight together down in the gallery. The show was now site specific! The remaining works were placed. The work on cardboard took to its wall quietly, beckoning the viewer to come up close. The intensity and allure of the two indigo works needed space - lots - and were given a wall to themselves. Works on paper were set out as a quartet on an indiscreet wall.
The lighting was adjusted. The install was complete and I was in awe. I saw my work with fresh eyes and a singing heart. At home later that night, I realised that Cadence is a highlight of my creative life.