In continuing the Living Billboard Campaign for Modern Lace, yesterday I wore the Lambiris piece, Indian Dog, pinned to my red jacket while I had my volunteer day at the Met. Interestingly, although I had worn it on the street and around town receiving no comments from strangers among the general public, Indian Dog seemed to attract a lot of attention at the museum. First our administrative assistant, who had seen it in the web album and had not seemed to like it the best of Susan's offerings complimented it and thought it was much more beautiful in person against red than on the web-site. Later in the day a young woman, a decorative arts scholar, who has written a very nice article about Compeche chairs which the museum has published was talking to me and became quite interested in it, asking me about it. I explained about Susan's work and that it took 50-60 hours to make a piece. The young woman DID NOT BAT AN EYE and instead observed, "so it is a real luxury item such as we might buy in the museum store". This, I thought was a very positive response. Later the piece was noticed and positively commented on by a woman whose specialty is French engravings and who is researching the design source of a piece of lace in the collection. She is now a volunteer, but she had formerly been head of programs at Boscobel, a restored home on the Hudson which has some fine textiles in it. With her was a man who is also retired and who emits a general air of wealth and power. He is now a volunteer tour guide who has undergone a very rigorous two year training and qualification process in the Decorative Arts and had just had his "peer review" which was very challenging. He also admired Indian Dog. So, I am developing a theory that Lenka's work is work that seems to call out to the general public. But Susan's work seems to work well in one-on-one situations where the subject is close enough to see the incredible detail and has an eye for such things. Devon
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