It's been a bit quiet around here: most of my energy has been focused on a six-month contract that I started at the beginning of last week.
I've been getting used to a new rhythm to my days, learning as much as I can in the new role and I've been getting home at night exhausted, which means no brain space to think—let alone do anything—miniature.
I'm working in the city for a change, and on Wednesday night I was pleased to be able to trot down the road from work to the opening of Ampersand Duck's latest exhibition (long-time readers might remember she was part of the Call of the Small exhibition I curated at Craft ACT way back in 2010.)
At the exhibition we chatted about what our plans were for 2016, and I mentioned that I wanted to build and manage a teeny tiny gallery, or a chain of teeny tiny galleries (something I've been talking about and working towards since the close of Call of the Small), and had been talking to a couple of people about places for it to live.
And she said 'I've got Bette Noir in my studio: perhaps that would work for you?' And I had to admit I had no idea what she was talking about. She explained it was a miniature gallery that was well-known in the Canberra arts scene many years ago and that she'd been given custodianship of some time ago and hadn't had the time to devote to because of other commitments.
'I'm clearing out my studio this weekend', she continued. 'Would you like to become its curator?'
And I've had to find room (temporarily) for another (large) miniature in my flat
(And space in my schedule for a pile of research on its history...)