I got the word a number of days ago that my proposal for the SLAM project was not chosen. No great surprise there, but rejection always makes me consider how these things work.
The tricky part of applying for large projects is figuring out how close to get. Round one is easy – you throw your hat in with low expectations. Should you be so lucky to make it to round two it becomes more complicated. You have to step over the line and get involved enough to do a good job, but get TOO involved . . . that’s a mistake as well.
(More stunning Photoshop work by Jean Tabbert and Joe Giersch, by the way.)
Then you have to figure out how far to overturn your life in service of a long shot. The time between notification and deadline is often fairly short, and requires a certain amount of hustle to do even just a decent job. Do you cancel trips? Do you bug out of prior commitments? Annoy friends and family by disappearing for a month? And if you answer “yes” to these questions, (I chose “no,” for better or for worse!) do you then risk being devastated if you get rejected? Do you propose using materials that you know how to handle yourself, or do you bring in a whole other group of people by using a fabricator? Do you concentrate on one idea, or attempt to improve your odds by submitting multiple proposals? Hard to know. I’m just lucky it works out for me once in a while.
A sample of a glass sample – clearly I chose the fabricator route.
Of course I’d be a liar if I said I wasn’t a little bit disappointed. It was so much fun to envision my pieces ten feet high in fused glass, and I enjoyed the work I did with an architectural glass company greatly – mainly I just wanted the chance to work with them some more! Still, I know the committee spent an enormous amount of time working on this selection, and I’m excited to hear the official choices and see what goes into the building.