People were insisting that we took their pieces as testament

Amy de la Haye's engagement with testament and memory in her
work had parallels with another curator's experience at the V&A.
Sonnet Stanfill's intention on presenting a monographic show of Ossie
Clark's work in 2003 was to provide a "snapshot of a decade," rather
than a retrospective, as Clark's period of activity was concentrated
in a relatively short ten years. In a bid to engage with the visitor and
experiment with an element of interactivity, the museum had introduced

a website where they asked members of the public to post memories of
that time which had been provoked by the exhibition. Stanfill had already
had a profoundly involved experience when dealing with Clark's friends
and colleagues and found that the show was a catalyst for personal
memories that in turn enriched and contextual ized the project:
Ossie died in a horrible way with unresolved personal relationships
with a lot of people in London and 1 had very unexpected
emotional meetings with lenders. People were insisting that we
took their pieces as testament to their relationship with him. That
was the side that the public didn't see, but the website allowed
this {memory association) to be addressed (Stanfill 2007).

In her foreword to Judith Watt's book on Ossie Clark (Watt 2003),
Stanfill mentions that he had often used the V&A's collections as a
resource for his work. wuyan-0122.
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