Finally I have been to visit Lost in Lace in Birmingham’s Gas Hall. It has had many great reviews, and I have been curious as to whether they have been accurate!

One review I had read suggested that the exhibition was lacking a ‘white cube’ aesthetic. I think this was a short sighted opinion however, as, for me, the building was a part of the space, and became an element of the work through their interaction. The gallery itself houses a lace collection, which many of the exhibitors had drawn inspiration from, and was therefore a further dimension to the body of work, and notion of space and place.

As viewers, we were invited to make our own ‘path’ through the exhibition; it finally felt as though the stereotypes of ‘white cube’ galleries were breaking down. People felt the freedom to discuss the work as they passed through it; they interacted with it. In turn, the visitor’s discussions of the work acted as a starting point for networking between people; a nice mirroring of the idea of lace as ‘connective.’

Lace has been described as a virus-like form, which both surrounds and encloses, but at the same time allows for transition and access. Therefore the images that I have chosen to share are of the spaces between. The shadows produced by the works, for me, was often the most beautiful element. I was particularly drawn to the work which emphasised this fluidity of boundaries; through the use of shadow and light, the work interacted with the space.

Piper Shepard, Lacing Space;

Chiharu Shiota, After the Dream;

Naomi Kobayashi, Cosmos Series;

Diana Harrison, Line;

Suzumi Noda, Tanabata Lace;

I also attended the conference, which was mainly quite interesting. For me, Gijs Bakker, co founder of Droog Design, was the most fascinating speaker. He spoke of the influence of ‘lace’ on the collectives work, including examples such as Chris Kabel’s Shadylace Parasol, a particular favorite of mine!