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The exhibition is based on the idea of historical peddler dolls of the Victorian era, found in homes in Britain and America, also called ‘notion nannies.’ According to the exhibition, the character of the ‘notion nanny’ would travel through the countryside acquiring traditional crafts and peddling her wares, carrying with her, collected stories, secrets and a wealth of handcrafted objects. Taking this model, Smith has fashioned herself as a notion nanny, travelling through the country, collaborating with artists and craftspeople in order to share ideas and knowledge about the histories and skills involved in their practise. In the exhibition at Studio Voltaire, we can see artefacts of Smith’s journey. Pinned to the back wall are photographs and leaflets describing various craft activities alongside examples, either finished or in progress. Among some of the most interesting, evoking specialised skill and local knowledge, are examples of carved horn ale mugs, corn dollies and Ruskin lace. On the adjacent table are examples of objects made at ‘The Notion Nanny Tea Party,’ an event to bring about exchange and barter and a sharing of skills and ideas through demonstrations and conversations. Love tokens, four leaf clovers and flower arrangements are all on show and for sale. A life-size sculpture of Allison Smith as notion nanny stands in the centre of the room with a basket ready to carry her collected wares. This sculpture is intricately made, partly by a ceramics atelier in France, it has glass eyes, a hand stitched wig and a costume made with historic costume designers. The exhibition is an unusual mix; this life-like model has an air of the museum diorama while the handmade objects feel delicate, diverse and to use the term without its often disparaging connotations, quaint. Studio Voltaire provides an apt environment as a former chapel, creating the airy atmosphere of a local church hall. However, where Notion Nanny appears to be doing its most interesting work is in the relations and interactions it stimulates, outside of the stasis of the exhibition itself. The surrounding activities and sharing of folklore perform an interesting social function, bringing people together to share stories and skills. Smith is interested in the double meaning of ‘notions’ here; both in its historical US definition as handcrafted sewing mementoes and in the understanding of ‘notions’ as ideas and preconceptions. We are asked to explore the relevance of ‘craft’ and our assumptions about the term. Smith raises the ‘notion’ that craft can be political and traditional. In the accompanying exhibition text, she asks us to consider the revolutionary spirit and social collectivity within historical traditional craft movements in times of upheaval. Notion Nanny creates
a format for collaboration and a productive dialogue where skills and
works can be exchanged. Forthcoming activities on Notion Nanny’s
travels include a Family Activity Day at Studio Voltaire and skills sharing
in Shropshire in leather tanning, weaving and clog-making. The focus of
these activities on participation encourages all involved to become a
producer, Smith’s own journey and her apprenticeships alongside
the possibility of the visitor’s involvement in producing crafts,
transforms the demarcation between the artist as producer and the audience
as consumer. Notion Nanny is a project laden with interesting
concepts and the potential of social interactivity.
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