Tall Tales in situ… at Glasgow Women’s Library


Tall Tales has fully settled into its new home at Glasgow Women’s Library, filling every nook, shelf and even the plant chests with our 17 women artists’ work.

Here are just a selection of images of the current exhibition and remember you can see it for yourself at Glasgow Women’s Library until 21 December 2016.

Image credits: Installation images, Tall Tales at Glasgow Women’s Library, Copyright wewioraprojects 2016

A Spotlight on… Ma Qiusha


This month we hear from Tall Tales Co-Curator Liz Wewiora on the work of Ma Qiusha, one of the most exciting Chinese women artists of her generation, and how a particular work has continued to create new narratives for both artist and curator.

“It was my first visit to China, and nothing would prepare me for the art ‘theme park’ of an extravaganza that was the 798 district in Beijing. The district comprised of a 50 year old complex of decommissioned military factory buildings, which now houses a thriving if not somewhat overwhelming artistic community. Gallery after gallery, studio after studio, and one public realm sculpture after another there was art for all the senses on every street corner. So much so, that it I began to stop taking any of it in, until I visited the Beijing Commune Gallery.

Amongst all that visual noise, the white clean space of Beijing Commune, was a welcome arrival but more over it was the artist exhibiting within it, that drew me in. I was presented by one of the first solo exhibitions by Beijing artist Ma Qiusha. A series of video works, paintings and sculpture sat with authority yet curiosity in the space. In a city so full of visual noise I was completely transfixed in Ma Qiusha’s ability to create works that left me in a sense of complete calm and control. Her work reflects a special sensitivity with ordinary everyday objects and materials. She carefully re-stages them in unfamiliar environments to tell a story or express suppressed emotions. Often the works, relate to personal memories and emotions to family and identity as well as wider topics around historical, political, social and economic transitions Chinese Society has gone through in the course of the 21st century.

It was an absolute delight, in 2013, to be able to curate and  present her first UK solo exhibition at Centre for Chinese Contemporary Arts, again presenting a series of video works, painting and sculpture. When considering the Tall Tales artistic programme in 2014, I was instantly drew to one particular work, Two Years Younger Than Me, which had been showcased in her solo UK exhibition. The work not only represented a work with a strong narrative in its own right, but more over a newer narrative which through the dialogue around the initial presentation of the work, evolved into a life long conversation and indeed friendship between artist and curator.

imgresTwo Years Younger Than Me presents a series of curious found objects by the artist’s late Grandfather and represents a new found understanding the artist had for her relative once she discovered these objects. In first discussing the work with Ma Qiusha, I was fascinated to know more about these curious items, which consisted of a set of small pill bottles with beard shavings, labelled by the year they were collected for 27 years.

When the bottles are laid out in order of their age, we see a delicate shifting greyscale as the beard shavings start to change colour. We also start to see signs of other changes over time, as less hair is captured in each bottle, and the earlier consistent shape and size of bottles shifts to various sizes, colours and with less consideration to label them. So although the idea of collecting and collating beard shavings might seem like an unusual one, as a collection of objects they represented a sense of time; a sense of growth and ageing and a sense of eventual loss. I was fascinated still to hear from Ma Qiusha what she herself made of them and how they related to her relationship and memories of her Grandad.

Ma Qiusha explained “My Grandad is the only elderly family member who have ever argues with me. Unlike most his age, he never spoiled his grandkids. My Grandad was an only child, just like me, and that’s why he was kind of weird. I remember clearly his odd, but always serious manner. He would keep his beard hair in a pill pottle and lock all the bottles up away. It was only after he passed away that I found these bottles in a pile of his personal belongings, which were going to be thrown away. Since 1984 he had used a pill bottle each year to save all his removed beard hairs from the last 12 months. I counted the bottle, 27 in total and exactly ‘two years younger than me”.

The story behind the found objects, and discovering that upon Ma Qiusha finding these curious items, she in fact finally understood her relationship with her Grandad, gave the work even more emotion and for me a new attachment and narrative that I wanted to share. Since this initial conversation, Ma Qiusha presents the work alongside her personal story about her relationship to her Grandfather and it is still something we discuss and adapt each time she presents the work to this very day.

For Tall Tales Ma Qiusha also presents a new video work, Rainbow, which presents to the viewers a dream like scene: three girls in a typical figure skating costume appear to be circling the camera, hand in hand. The film slowly reveals the girls are striving to mash tomatoes under their boots, causing a splash of fruit into nearby glass vessels – every sense and splash amplified by the use of HD recording, creating an immersive relationship between the audience and the figures. The work plays homage to the ring-a-ring-o’rose nursery rhyme and the chromatic contrast between the use of red and white in the piece, echoes an all too familiar play of against good and evil, fight or flight in storytelling.


Like many of Ma Qiusha’s other works, Rainbow uses the visual tool of a blade/ razor in combination with a seemingly soft and dreamlike state. It is even more of charming and uncanny connection then that Two Years Younger Than Me represents her Grandad’s beard shavings. So perhaps they were similar than they ever realised; a little fact I like to keep hold of, that makes me more fond of the work every time I see it”.

Liz Wewiora, Co-Curator, Tall Tales, November 2016

Image credits, Header image: still from Rainbow, HD video, 2013, middle image: Two Years Younger than me, found objects, 2011, bottom image: still from Rainbow, HD video, 2013, all work copyright the artist, Ma Qiusha

A Spotlight on… Beth Collar


This month we hear more from Tall Tales Curator Liz Wewiora on how she first came to discover Beth Collar’s work and her journey through the Tall Tales programme.

“I first had the pleasure of discovering Beth Collar’s work after a performance,  Like Valhalla, at Rowing in London. We knew we wanted to invite a London/ South based artist to take up residence in Glasgow Women’s Library, whilst Glasgow based Ruth Barker headed down South and after seeing the performance at Rowing I just knew it had to be Beth. For me her work centres around pulling apart and piecing back together remnants of others’ stories. She plays with the line between truth and fiction within these tales, until she finds her own collective narrative to share. The work tends to presents itself somewhere between a performance and sculpture, with the sculpture often becoming the ‘prop’, the single object which guides the action/s of her performance. With this playful approach to both medium and story-telling, her response to the archives at Glasgow Women’s Library was one that filled me with curiosity and delight.

In the Summer/ Autumn of 2014, Beth began her Tall Tales residency at Glasgow Women’s Library working over a 2 phased period, with a simple and open brief to respond to the Library and its collection in someway. With a hugely rich and diverse archive and a talented team of women at its helm, it is no wonder when Beth Collar started her residency at it was hard to know where to begin. I remember the first meetings with her in the library and email correspondences between us both, and how there were so many potential lines of investigation for her to explore further through the GWL archives. Where to start? Where to hone in?

Conversations and investigations around LGTB zines, feminist articles and the women’s suffrage movement emerged with peaks and troughs of interest but what seemed to retain Beth’s attention throughout was a series of early feminist books including Naomi Woolf’s The Beauty Myth from 1990. I still smile when I think of Beth first mentioning the book, as I recall my own second year at art school reading the very same writing, which drove the focus and entire approach to my work created that year.

Beth was struck by its topics, which although were raised by Woolf over 3 decades ago, are still very much relevant today. There is a lot of reference to the idealised look of a female in society, the importance of smoothness of a woman’s face and the cosmetic industry pushing for this fictional perfection that only beauty and youth will demonstrate a ‘true women’.

Woolf’s book also reminded her of a really strong rumour that was in circulation when she was a child; that a certain skin-care brand contained aborted foetuses. A horrible idea indeed, but this rumour actually connected to previous research Beth had been looking into around witches and the age old story that witches ate babies. A rumour now that when you search on-line has its own life of stories, whether true or not, creating its own narrative of interest in society. This idea that the rumour becomes the story, rather that historical fact itself, is of particular interest to Beth and often underpins the core themes running through her work.

Upon reflection and inspiration of her time with the Glasgow Women’s Library, for the Tall Tales tour, Beth has created a new sculptural, The Furrowed Brow, which has already exhibited at the Freud Museum London and Touchstones, Rochdale before finally making its way to its home of inspiration – Glasgow Women’s Library this October.

Beth Collar,
Untitled (furrowed brow)

The work consists of two wooden carved sculptures of women’s faces; they’re almost like masks. They hang on the wall at eye level, peering outwards and directly at the viewer. The facial expression of is of a furrowed brow, with wrinkles on the forehead and if you have ever met Beth in person you would certainly suggest one might be a representation of the artist herself. Contemporary cosmetics are then used to smooth the surface of the face, however it is interesting to note the deeper lines of the lime wood used stubbornly show through – an interesting visual nod to this idea what we mean by surface expression, and facial expressions as meaning.

The furrowed brow is often attached to an idea of the brooding hero in popular culture – a James Dean-like expression of thought but when appearing on a woman’s face, it doesn’t hold those connotations, but has a completely different set of meanings. This double standard the expression represents and double meaning conveyed within this shared expression was of particular interest to Beth.


Alongside the Furrowed Brow sculptures, Beth will return to Glasgow Women’s Library bringing the project full circle, with a new performance. The piece will be performed on the opening evening, Friday 21st October at 7pm. The performance is set to respond specifically to and for the Glasgow Women’s Library, with particular references to their archive, a collection which resonates dearly in Beth’s mind.

In a recent interview with a-n Beth mentioned ” Having undertaken it a couple of years ago, almost everything I have been producing since then has in some way been influenced by the literature that I discovered during that residency. That’s been the nice thing about the project being long term”.

We can’t wait to bring Beth and her work back to where it all began, to Glasgow Women’s Library this October.

Beth Collar studied at London Metropolitan University and the Princes Drawing School before completing her MA at the Royal College of Art in 2012. In March 2016, she won Standpoint Gallery’s Mark Tanner Sculpture Award 2016-17.

Image Credit:
Beth Collar,  Furrowed brow, 2015 Lime wood, MAC cosmetics, installed at the Freud Museum as part of Tall Tales touring exhibition

A Spotlight on… Alison Erika Forde


As the Tall Tales exhibition comes to an end at Touchstones Rochdale, and prepares for its way up to Glasgow, assistant curator Emma Flynn takes some time out to tell us more about the work of Alison Erika Forde.

“Before talking about her works I think it is important to give some context to her practice as an artist. As a graduate of Manchester Metropolitan University, Forde (b.1985) lives and works in Manchester. Since graduation she has shown work across the UK, as well as internationally through her gallery, International 3, and her work is in private collections in Austria, the Netherlands, Germany, Spain, Switzerland, the UK and USA.

For those of you who have never seen the work of Alison Erika Forde it is certainly something to look forward to. Before work on the Tall Tales project began I wasn’t familiar with her practice and I am glad to say this is something that has been quickly remedied, and I enjoyed delving into her practice a little deeper to write this short piece.

Forde’s works take a variety of forms as her paintings and sculptural pieces adorn found objects, typically bric-a-brac, mass produced prints and other old or second-hand unwanted items. Forde herself describes these as ‘unwanted’ or ‘undesirable’ and those who have worked with her before, or who have experienced her work, can see how her paintings are able to rescue and transform these pieces.

The objects themselves, although integral to Forde’s work, are only one part of the story. The scenes and characters that Forde creates are, themselves, captivating and also at times unnerving. Her humour and playfulness certainly comes through to balance what are described as ‘anxiety stricken characters…awaiting impending peril’; and this can certainly be seen in the work exhibited in Tall Tales. In spite of the ominous situations her characters find themselves in the colours stress her playfulness and allude to a mildly disconcerting vista which we might more easily recognise in foreboding folk stories or fairy tales.

One of my favourite works that I wanted to highlight from the exhibition is Forde’s Shame Pole, 2012. These take the form of cardboard containers, stacked one on top of one another and adorned with emulsion and metal paint depicting different scenes or faces.


At first the works resemble totem poles standing boldly in the room but their history and reference to the cultures of indigenous people of the Pacific Northwest has a darker connotation. These Shame Poles were erected by locals in public places in order to shame individuals for wrong doing or bad debts. Forde’s intention is for her shame poles to provide the viewer with an opportunity to imagine who they might be for, the artist has not designated who has to be shamed and thus the audience can assign them to whomever they choose. This work for me epitomises some of the themes running throughout Forde’s work, a link to folk histories and customs, but bringing that into the modern era with her choice of found materials. Most of all the sense of humour and mischief that comes both from her use of colour but also in inviting the audience to become complicit in the practice of public shaming, as they imagine who they might shame, albeit in a unspoken way.

In addition to Forde’s artworks in the Tall Tales exhibitions, the writer Jenn Ashworth has developed a work of fiction inspired by Forde’s practice. This is an exciting new commission to emerge during the midst of the Rochdale presentation of the tour and something that Glasgow audiences will be able to enjoy during a reading as part of the opening preview activities at Glasgow Women’s Library in October.

Further works by Alison Erika Forde which are included in the Tall Tales show are: A Girl of Trinidad, 2015; The Outsiders, 2015; Tower, 2013; and Speak No Evil, 2015. Forde’s work continues at Touchstones Gallery and Museum, Rochdale until 3 September, before travelling to Glasgow for the final exhibition in the Tall Tales tour at Glasgow Women’s Library, 22 October – 21 December 2016.

Emma Flynn,  2016


Oona Grimes, an artistic talent, inspiration and friend…


I first came across Oona’s work in 2003 when reviewing a four-strong all women show for Contemporary, entitled ‘Uncanny Tales’. The exhibition launched in Arnhem (NL), at De Buytensael. Showing alongside Paula Rego, Ana Maria Pacheco and artist Macelle Hanselaar, Oona was in good company.

I would have been in my early 20s, so likely feeling pretty nervous setting off on my own, not knowing quite what to expect and not knowing anyone at the other end other than Marcelle whom i’d been lucky enough to meet on studio visits in London. However, little did I know that the overwhelming warmth of Oona Grimes would be there to greet me, to settle me down, and aid with focusing on the job in hand. Both Oona herself and her work instantly caught my attention, and created a lasting impression.

Some years passed, and then a way down the line I found myself in contact with Danielle Arnaud, visiting the Tatton Biennial and once again finding myself in the presence of Oona’s work. Like Oona herself, her work is instantly engaging, refreshingly honest and unpretentious, playful, whilst being equally complex in its many layers and reference points. Above all it is compellingly human.

Although the inspiration for Tall Tales came from two artists’ whose works aren’t exhibition as part of the touring exhibition, Sophie Calle and Yayoi Kusama, I can honestly say that when starting to discuss the artist selection for Tall Tales with Co-Curator Elizabeth Wewiora, Oona was at the top of the list. Her practice for me, in part, informed other decisions to come. Having first experienced Oona’s work in the home of Dutch gallerists Hank Gulickx Burg and Harry Burg Gulickx, where Freud’s heimlich (homely) and unheilich (unhomely) permeated, it felt fitting to be able to introduce it to the Freud Museum and Freud family home in particular.

In London Oona presented a range of work, installed and making interventions right across the Freud Museum, – exhibition space, Anna Freud’s room, hallway and in and around the famed Freud desk and couch housed in Sigmund Freud’s study.


The exhibition space at the Freud Museum, and Anna Freud’s room played host to Oona’s recent work, including a three double page spread from Flanns Architectural Digest– a series of 18 hand cut stencil drawings sprayed onto black paper, emulating analogue film, as well as a series of directly related book works. The brightly coloured imagery in the larger-scale works and book works are set off against a deep field of black. This creates the illusion of three-dimensionality, digital pixellation and surface. The body of work began as a book of protective spells: a plundering of Swedenbourg, Flann O’Brien and The Egyptian Book of the Dead. Characters fence their way through an illusionistic portrayal of architecture and the creatures that haunt the facades and hoarding boards, the film & theatre flats. Oona, in a recent blog for Big Issue North, speaks of these works as so,
ART Tintype. Oona Grimes. Flann's Architectural Digest 6. 2015 -2
Pogoing off Freuds theory of screen memories and my mis-memories of a childhood summer on the set of John Hustons Freud: The Secret Passion, cocktail shaken with my love of Flann OBriens badly behaved language, the drawings are in conversation with a tribe of clay things.’
Oona’s Clay Things found their way into some of the most impossible spaces of the museum, including a choir of potatoes that infiltrated Freud’s desk and toes ntoast that found their way into Freud’s collection of Egyptian sculptures and the study’s bookshelves. Her works in clay are predominantly based on simple shapes which explore the most basic of ceramic processes, speaking directly to the work of others exhibiting as part of Tall Tales, for example Sarah Forrest and her video piece The Pot or Laure Provoust’s Wantee Fountain. Shown alongside Oona’s drawings, her Clay Things are a celebration of the absurd and an ongoing series of parallel worlds, cerebral pieces yet grounded in their materiality and the process of making.

To our delight Oona and her work made themselves at home at the Freud Museum. Following tradition, where Oona likes to spend time with and in an exhibition, at the Freud Museum she hosted John Huston’s film set Sundays. Creating a facsimile of the original film script for Huston’s biopic, Freud: The Secret Passion and asking Nick James, editor of Sight & Sound, to write a review as if it was a new release, this, a reproduction of the poster and Oona herself spent many Sundays ‘on the couch’ talking to visitors to the museum over the exhibition period.

Of her time in London, Oona writes,‘I loved the unexpected conversations with invited artists, visiting psychoanalysts, tourists and school children, kind of pinging off the work but not aimed at it directly.’

Not wanting to break tradition, Oona has spent an extended period in Rochdale installing her work and into the opening weekend. She has become literally part of the tour and integral to making Tall Tales what it is. Her works feel and look very different in the larger and more formal museum and galleries of Touchstones Rochdale, gaining a new life, whilst creating the same level of intrigue and mischief as in London.

It is no surprise that in Oona’s Big Issue North blog she writes,

The best bits are the practical bits the amazing new friendships with the gallery staff, the installers, cleaners, curators, the other artists. How to get in early, negotiate transport, and where to get the best coffee.’ …

Oona herself is full of stories. She, like her work, makes connections, brings them, and people together, everywhere they and she goes. Although not directly biographical, multiple fictions being at play in her work, Oona’s practice clearly draws upon her life experiences, people and conversation.

I get the impression Oona is a first hand girl, a people person, a let me look at you and see the whites of your eyes person. I like that. She is concerned with life and death, and everything in between, the ‘human condition’. Quoting her again, perhaps this sums things up, ‘

The drawings are an investigation into language, beginnings & ends of it, learning & losing it. Clay is the in-between bit – the instinctive making-ness that fills in the gaps. I find I cannot name the clay things in the way I name my drawings. ‘Must a name mean something?’ Alice asked doubtfully. ‘Of course it must,’ Humpty Dumpty said with a short laugh: ‘my name means the shape I am and a good handsome shape it is, too. With a name like yours, you might be any shape, almost.

I imagine the sparks will fly and magical connections will be made when Oona arrives in Glasgow. I anticipate when she gets together with the team at Glasgow Women’s Library and the many amazing characters running the show there, conversation will flow, as also likely will tea. We are certainly experiencing the pleasure of working with an incredibly talented and dedicated artist, and myself, the Tall Tales team, artists, venues and partners have all gained a collaborator and friend!

Helen Wewiora, Tall Tales Curator

Image credits: Top Image: A Choir of Potatoes, Oona Grimes (2014)
Middle image: A Choir of Potatoes, Installed on Freud Museum Desk for Tall Tales exhibition at Freud Museum Lonond, Oona Grimes , photo by Elizabeth Wewiora(2016)
Bottom Image: Flan’s Architectural Digest No.6, Oona Grimes (2015)

Tall Tales discovering more at National Arts in Libraries Symposium


A couple of weeks ago I travelled to Leeds to represent Tall Tales at the National Arts in Libraries Symposium at Leeds Central Library. Delegates gathered within Room 700, a new multi-arts space positioned in between the music and arts library. The day begins with an inspirational quote directed at a room full of employees of local authority libraries.

‘Bad libraries build collections, good libraries build services, great libraries build communities’. R. David Lankes

The symposium coincided with the announcement of a new investment strategy specifically for libraries in the arts council funding. A helpful advice session was delivered in the lunch break for those wanting to find out more from the arts council representatives.

To find out more about the grants programme you can click here.

The conference sets out different examples of when libraries have brought innovative art in to their buildings. Inspiring libraries to encourage a new audience to enter their doors whilst not isolating their traditional library visitors. Throughout the day we were encouraged to split in to smaller sessions to hear about the people involved’ different experiences of doing so, highlighting the difficulties as well as their successes.

Buffalo and Purple Patch Arts – Under Milkwood

Click here to see a video of Under Milkwood.

This was a multi sensory immersive installation responding to the poetry of Dylan Thomas within Room 700 at Leeds Library. Buffalo arts were commissioned by Yorkshire based, Purple Patch Arts who work to improve the lives and life chances of people with learning disabilities.

What I particularly took away from this session was how employees of the library have to be considered as part of the engaging audience. The exhibit worked really well not just for its artistic merit and ability to bring multi-sensory experiences to a wider audience but also to create a calming haven in the library that inspires the staff and encourages them to want to spend their lunch breaks in.

Manchester Libraries and Brighter Sound

Click here for more information on Echo Trace

This project showed how by working with new and innovative delivery partners, libraries could support artists, providing them with a unique platform to explore their resources. To coincide with the re-opening of Manchester Central Library Brighter Sounds coordinated a programme of residencies, showcases, workshops and gigs entitled ‘Chaos to Order’. A highlight was working with the indie band EverythingEverything who ‘were keen to connect with the library staff ‘ and were enthralled by exploring the different areas of the historic building. All involved were quick to explain to the workshops audience that the ‘Echo Trace’ element of the programme included the involvement of branch libraries in Greater Manchester.

St Helens Council and Re-Dock 

Click here for more information about Northern Powerhouse 2065

I really enjoyed the Doing Digital Arts in Libraries session, in part because such an enthusiastic workshop leader, Owen Hutchings from St Helens Council, delivered it. Who, from the beginning explained that if a library brings digital art in to their libraries with the sole aim to get people to use their computers more they will set themselves up to fail. Owen went on to give examples of projects which have taken place to date but the majority of the session was taken up with a ‘give it a go’ section getting the audience to play with the simple digital and analogue arts technologies used in their projects. Neil Winterburn, who works with Re-Dock, showed us how to build a basic kinetic robot. The other group was led by Hwa Young Jun played with the online text adventure game Northern Powerhouse 2065. Developed with FACT Liverpool, it explores a dystopian scenario created by young people from Hull, Burnley and Wigan.

Coming to the conference from the perspective of someone working on an arts project in a library rather than an employee from the library itself, I found it enlightening to see Tall Tales projects such as Call for Cloth in a new light. ‘Authentic engagement’ with library staff was an issue that kept being brought up as a possible problem when bringing new art forms in to library spaces. But that ‘ownership and consultation’ are key to positively changing this. Involving library staff from the beginning, utilizing their expert knowledge of their communities and resources can really improve an art works reception. I found the day inspirational and was grateful for the honest perspectives everybody brought to the discussions. I think the future for engaging, contemporary art in libraries as a whole is bright and positive and I now can’t wait to see Tall Tales reach Glasgow Women’s Library.

Charlie Booth, Assistant Curator for Tall Tales

Call for Cloth gathering threads…


As Call for Cloth takes up temporary home on our second leg of the Tall Tales tour, at Touchstones, Rochdale, project artist Lauren Sagar is starting to weave the collected stories from community groups and the general public so far, together into a new art work.

Whilst based at Touchstones, Rochdale, Lauren has been meeting both local Rochdale group Knitty Gritty, as well as wider knitting and crafts groups from Greater Manchester (Cross Acres Knitters from Wythenshawe Age Concern and Many Hands from Victoria Square in Ancoats) to develop some visual ideas for the final Call for Cloth installation.

Lauren has been focusing specifically on creating a series of blankets which relate to each of the touring venues and its local communities, responding to conversations with the general public and their associations to blankets as an item for care, comfort, sharing and family. So by inviting the local community groups in Rochdale and Manchester to pick up on details from personal stories attached to cloth and textiles, as well as responding to other collected stories and images of cloth, the groups were able to create a piece of work which will weave into the fabric of the final blankets. Once the project finishes and the Tall Tales exhibition is over, each of the blankets made will be donated to a local group / community of the participants choice, keeping the gift of sharing stories and care growing.

Lauren is also working with a local South Manchester, Burnage group. As Lauren explained to me she started to work with this particular group about 15 years ago.

Lauren… “I supported them in setting up a stained glass group in Burnage and they have been going ever since. They meet every Wednesday at a Working Men’s Club in Burnage. They are enthusiastic about the project and have contributed some beautiful stories, some of which are recorded. They are coming to Touchstones next Wednesday to see the exhibition, and then the following Wednesday we are spending the morning creating artwork for the Manchester Blanket, and starting the discussion about where we gift the blanket to”.


The final blanket artworks, will be situated in our final venue for the tour, Glasgow Women’s Library, and the work could not be better suited as Lauren herself discovered during her research trip to the Library last week.

Amongst the richly diverse textiles archives the Glasgow Women’s Library (GWL) owns, they also have their very own GWL blanket, again with its own story.  Lauren learnt that there was Adele Patrick, Lifelong Learning and Creative Development IMG_0200Manager at GWL, explained to Lauren how a volunteer had knitted the blanket for the library. It lives on one of the arm chairs within the main reading area, which people often make use of it. She said that recently there was a conference at the Library and that one of the attendees felt faint and unwell. She spent the rest of the day in the arm chair, wrapped in the blanket. Both Lauren and Adele “wondered about other similar stories this blanket is safe keeping.”

Glasgow Women’s Library local groups are also working with Lauren and supporting project artist Joanna Peace to make their own responsive Call for Cloth artwork which will weave into the overall Tall Tales exhibition at the Library this October so Call for Cloth really is finding its home in the fabric of the overall Tall Tales project and we can’t wait to see the results!

If you want to find out more about the Call for Cloth project or donate your own Call for Cloth story you can visit the project page here

Liz Wewiora, Tall Tales Curator



Image credits: top image, donated textiles from Call for Cloth participant, Image C. Artist and participant, 2016
bottom image: Glasgow Women’s Library Blanket at Glasgow Women’s Library, Image C. Artist and Glasgow Women’s Library 2016