Every year at about this time I have to plan the programme of possible exhibitions for the coming year. For some reasons lost in the mists of history deadlines seem to cluster in March and April. It is never possible, of course, to enter every exhibition which looks as if it might be interesting, where the organisers have declared a theme, or are inviting work of a kind which seems to have my name written on it. This task might be simpler, of course, were it not the case that my wife is also planning a sequence of holidays and family visits. So careful thought is required, together with some judicious reading between the lines in the attempt to discern the exhibition organisers’ intentions. This is probably the last possible week in which I can sort out this task, so I have had to get my head down for most of the day, drawing up a chart on which all the relevant information will be coordinated.
This is not as straightforward as, on occasions, it might appear. If I am to enter (to take one example) for the annual exhibition of the Pastel Society, I have to try to balance the technical ability in the medium which (I hope!) a piece of my work displays, against the eye-catching character of the motif. Having successfully entered the annual Patchings exhibition in the past, I am aware that the organisers seem to place quite a high value on the saleability of work. Fine! But what on earth constitutes “saleability”. Here’s another catch. I’ve spotted an exhibition which has not been offered previously. The title (“Take Time”) seems to be absolutely up my street,* but looking at the names and institutional positions of the panel of judges I am hard-pressed to form any idea what might be their selection criteria.
I think that I am just going to have to put my faith in the quality of what I offer, and not waste too much time attempting to second-guess the selection process. Wish me luck!
*My solo exhibition last year at the Ilkley Manor House Museum had the theme About time.