It’s good to remember big “YES” events.

I received genuine pleasure this week remembering SAQA’s exhibition “Stories of Migration: Contemporary Artists Interpret Diaspora,” in Washington, DC in 2016. (This exhibit was featured in SAQA’s weekly e-mail to members, part of a promotion of past exhibits). I was so honored to be in the exhibit. In my artist journey, this one is definitely a really big deal!

(Bonus! There’s a little video to watch at the end of this blog post.)

While I’m at work in my studio, I admit I spend my share of time kicking myself when work does not turn out the way I’d envisioned it and wondering what in the world I am doing anyway!

But being a part of “Stories of Migration” was a completely “yes” experience for me.

The work I created, “How Can We Sing in a Strange Land,” was the largest I had created. (It’s 53”H x 72”W)

And it was the biggest work conceptually as well. I had not focused on a particular theme or body of work at that time. So, the process of thinking through how to address this deep and poignant subject matter was a big step in my artmaking. I worked through wondering if I had the right to submit work at all. I wondered if my method of working was sufficiently sophisticated for a museum show.

Once I was accepted and I began to see the scope of the show and the facility at George Washington Univ Textile Museum, I realized that this would be a world-class exhibit. A juried and invitational exhibit, it included work by forty-four artists. The partnership between SAQA artists and this beautiful museum space in every way elevated and enhanced the subject matter.

From SAQA’s promotion:

“All works reflect upon the theme of “Diaspora.” Diaspora is the dispersion of a people from an established ancestral homeland. These communities remain simultaneously active in social, economic, cultural, or political processes in their country of origin and with compatriots worldwide.

A migration of peoples from their ancestral homeland impacts every aspect of their life.  The sudden displacement of large populations and the ensuing establishment of resettlement centers to provide basic human needs — food, clothing, shelter, health services, and safety (particularly that of women and children) -- often requires a worldwide response.”

I traveled to DC for the opening. Because I live in a fairly small city, I can forget the excitement of the big city experience, especially Washington, DC. I took the Metro from the airport to Foggy Bottom-GWU and walked the several blocks to the Textile Museum. Everywhere in the city were amazing plantings of tulips in dynamic color patterns.

SAQA and the Museum had planned to video-document this exhibit and the artists. We had been assigned time slots for our individual videos. I remember that I arrived at the museum only a few minutes before my assigned time, after walking from the Metro station. I caught my breath, went to the restroom and splashed a little water on my face, then I went to stand by my artwork for the taping. My video is below.

For my video click HERE

All the artists’ videos are well worth watching. See them HERE

Another nice part of this memory: a writer for the Washington Post reviewed the show. As a result of that, a very nice art collector in DC purchased my work (before even seeing it in person!) That was also a first-time experience for me. YES!

I’ll be back in the studio this week, tackling a few new, large works that are challenging me. When I get the who-am-I-kidding-what-am-I-doing refrain in my head, I’ll try to remember this great experience.

Thank you for reading. I always enjoy questions and comments.
--Bobbi
bobbi@bobbibaughstudio.com

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