Why am I sitting on the floor? Because today I am selecting works for archiving, a careful process of archiving paintings within the larger structure of my oeuvre.
Selecting Work for the Archive
With our small boat, I cross the water. It is a short distance and always a small outing, moving between water birds and the branches we have to avoid. Toward the shed that stands faithfully on our piece of land. On one side, the distant energy of the street. On the other, our hidden piece of nature.
COMPACT SERIES AND STUDIO CONTEXT
This large, modular barn becomes a makerspace when the temperature allows it. The layout shifts constantly, tables move, panels lean, works rest against weathered wood. My husband and I share this place as two makers working side by side. It is not permanent, but intentional.
Today, I am selecting works for archiving.
Archiving as Structural Clarity
Selection is not administration. It is distance and discernment. What does the work tell? Which belong together? Which mark a shift in my visual language?
Here in our large shed, I have the space to place paintings next to one another and observe their dialogue. In this way, connections between series emerge. And I have everything at hand for an application, exhibition, or direct sale.
“Archiving is not closing a chapter. It is structuring the oeuvre. It clarifies continuity, strengthens coherence, and preserves the evolution of the work.” – Leonoor
For context, see the Artist Vision and Symbols & Narrative.
For a personal note, read blog.