The first critique went well for me. I was challenged in lot of ways. Everyone was interested in the cultural aspects of the traditional weaving in my work. Some thought that my work was too overwhelming and looked like a thumbnail at that stage. One of the pieces looked crafty, like a piece that might hang behind the couch. I was sad in a way because I worked so hard on that piece during fall break, staying three days and two nights in my studio and that is the one which worked least among the others. At the same time I was happy to realize that if I had not made that mistake I would not have known what I should be keeping in mind while I am make my work. That really brought up the question about where I want my work to fit in; behind the couch or in a gallery or museum.
In the process of making this work I became really emotional thinking about my late mother who used to regularly weave mats at home. There is so much of my personal narrative involved in this piece. I have also been thinking over some questions regarding my work. Here are the questions I’ve been chewing on as I weave:
- Is weaving more important, or is the material important?
- Why am I doing what am I doing?
- What are these mats for?
- What is my work saying to the viewers?
- How does the disguise shift the experience for the viewers?
- What am I saying about the women of my culture in my work?
- In what ways it my work more personal?
- How do Nepali people react to my work? Will they call it art or, something else?
I am still working through getting all the answers to these questions. I guess that’s why I am in school, to find answers to these questions.