Minnie Kemp on collecting
Minnie Kemp asks: why do we collect things? To record a specific moment in time? Or to preserve endangered objects and dwindling craft traditions?
In the naive blustery beginnings of this year I saw Unbound at Two Temple Place on London’s Victoria Embankment. This was an exhibition showing the textile collections of seven different ‘visionary women’. The opulent setting, in contrast to the humble stitch and needlework pieces, gave me a joy in the pit of my stomach, much like eating a Knickerbocker Glory with a long silver spoon in the sunshine.
Rather than accumulation for one’s own sake, the term ‘visionary’ indicates a greater sense of purpose. British anthropologist and artist Edith Durham amassed a collection of embroidered Balkan pieces while working with relief organisations in the region in the early 20th century. She documented customs and society in the highlands of northern Albania and wrote several books. Every year for 20 years she explored, on horseback, the craggy Balkan landscape, often in terrible conditions, wearing a waterproof Burberry skirt and a gold plaid cap. I mean, that has to be for love doesn’t it?
For better or worse, it’s a lot easier to find treasure today. Instead of horses, we ride mice (click) on our computers. But now that exhibitions and galleries are back open, it’s time to explore the great beyond.
Every year, I always look forward to the Royal Academy Summer Exhibition. Entry is open to the entire public, so it’s the best place to spot emerging talent and artists from all walks of life and you can find some really reasonable seminal pieces. I fell in love with Medley, a painting by Philippa Stjernsward, which hung, for a time, in the Ham Yard Hotel drawing room before coming home. When you purchase a piece from the Summer Exhibition you are put in direct contact with the artist, which is great fun as you get to make new friends. I went to visit Philippa at her home and studio in south London last week. It’s like a leafy, light-filled tree house and I notice the same electric blue from the dot in
Medley painted on the walls of her bathroom. A mysterious blue, like the painted houses in Marrakesh or Chefchaouen. As I push to find the meaning behind each piece, it became clear that Philippa wants the viewer to make up their own mind. ‘The paintings speak to me and tell me when they are finished,’ she says. These are pieces with their own personality and story that will hypnotise you if you let them.
The Tate Modern is exhibiting a killer show this November by visual activist Zanele Muholi, who is one of the most acclaimed photographers working today. Muholi’s photographs are strange and beautiful. On first glance the black and white silhouettes look like textured ceramic vessels, beautifully shaped, with smooth edges. I wanted to pick them up and inspect every curious shape. Drawing closer, bold features become clear, powerful and ref lexive human portraits, thick with meaning, enough to make you stop still in your tracks. Eyes that bore into your soul. Documenting and celebrating the lives of South Africa’s black lesbian, gay, trans, queer and intersex communities, these surreal portraits support nuanced expressions and distinctive dress. They are utterly spellbinding. Zanele Muholi uses her art to bring about social empowerment and visibility. Not to be missed.
SEAM is an art agency hot off the press that supports emerging artists, such as Billy Smith-morris and his wonderful mosaic work and Hannah Tilson and her graphic energetic pieces. I was also struck by Rashmi Bidasaria’s textiles. Born in Mumbai and currently studying at the RCA in London, her weaves are exquisite. She studied the sense of commonality of artisanal block printers in Jaipur, mapping their hand gestures with yellow tones for the left and red tones for the right, giving each craftsperson their own individual dance. These pieces would give any room a sense of integrity. Collecting them, and other artwork, will indeed ensure a greater sense of purpose.
“Now exhibitions are back open, it’s time to explore the great beyond”