On the last eve of 2013 I bring you an open flower. I did so much in this year, much of which I would never have predicted. So, with caution, I approach 2014. And will see how this year blossoms. All the best, my dear readers.
In a class for the Shibori Half-Square Triangle quilt, We laid it out on a table, (not pinned to a design wall). It is much easier to flip and exchange while flat, but hard to see the total effect. So, a shot from above takes care of that. This is just two one yard pieces of my shibori fabric.
The New England Quilt Museum in Lowell, Massachusetts, has the collection of miniature quilts made by Dorothy Bosselman of reproductions of Amish quilts. This one is about 16"square, and who knows how many pieces. I wondered at these gems when I visited in October.
Looking for adding a pattern to my solid yellow, I used some torn blue tape (as my block out) on the back of a silk screen. I squeegeed using textile paint -- you know, transparent extender with dye concentrate. Hot iron sets the color.
Essential to progress. Those who have worked with freezer paper templates recognize this step. I have some recombined pieces and am now applying the template and trimming with an added 1/4" seam. I know, boring.
Someone who will be in my Shibori Half-Square Triangle class this January at Quilting at the Lake (Havasu, Arizona) wrote to ask me whether to use my shibori fabric for the class, or should she bring her own. I have a couple using each type, shibori or large scale prints. Still can't decide.
We selected one of the three large hunks of fabric to use for the large finished piece. Yes, I made a table 14' long to position the freezer paper template. Ironed it on, marked, and now that piece is ready. Slow progress, but still progress.
I have been processing about 50 yards of this color green, so no wonder these Osage Oranges caught my attention at the public market. And no, I did not digitally or otherwise add the red berries. Happenstance!
I am dying a 5 yard piece of fabric for the next work. This is one of three hunks that are cycling in from soda soak, to underdye, to wash out, to soda soak, to dry, to over dye, to wash out, back to soda soak, well, you get the idea. I hope that one works. The others will start something new.
Scaling up to the finished size of 11 feet high, this is the full size drawing for the next piece (still without a name) and tomorrow I will make a full scale freezer paper template. You know how I love to use freezer paper.
A trip to Rochester City Hall had me checking out the current show at the Link Gallery there. Lynne Feldman had works that combine paint and fabric collage. This detail shows how she cuts and glues the fabric to a canvas layer. Very fun, indeed.
Longarm is now set up. So, I tried out some patterns and line work on this sample. I wanted to see how much the quilting would shrink the size (53" x 60"). Not much, really. And to see how the background shows through the white. A bit.
Using Anita Grossman Solomon's technique for cutting blocks with no waste, I made this many years ago. Reorganizing the studio unearthed it, now the longarm will quilt it quickly. Good for a warm-up on the machine.
Will Rogers visited Naples, New York and performed at the fair. This photo that I printed from the glass plate negative, taken and signed "Widmer". What fun to have a darkroom back in the late 1970s. Negative from a private collection.
Enough non essential jokes, non sequiturs, and nonsense was about in the kitchen while daughter "nonber" 1 made some naan bread to go with the vegetable sweet potato chili. For the run-up to Thanksgiving.
To the right of my latest sketch is a little doodle on the machine. I have, surprise surprise, fused a small square of light to the dark background, and am trying some quilted stitch. Like it all right.
Thirty years ago I designed exhibits in a museum, and tonight I went to their Holiday Bazaar. Behind the goo-gaas and ornaments were my museum displays. This one is just as I left it. The large case features plains indian artifacts, and here are shirts and an explanation of the ghost dance.
Let's go back a few weeks to the Boston Museum of Fine Arts and the piece, shown in detail here, by El Anatsui. He used found objects like bottle caps and bottle wrappers to form this abstract work called "Black River". Regardless of your interpretation of the title, the surface quality is mesmerizing.
While checking in with the doctor's office about my newly healed knee, I spotted this poster on dislocation of shoulders. Nice to know that illustration has not gone away. Much nicer to get the bad news through gently colored pictures.
I should be raking leaves, but instead am in the studio trying to make more. The yellow-green light leaf in the background is from the screen I showed yesterday, the darker ones are printed with transparent base and textile color. (Don't make me go back to the studio to tell you the exact product names.)
Nothing like trying out new forms and experienting. I am using transparent base with color concentrate to do some mono-printing. Also, a bit of screening with thickened dyes. How quickly you can go through 20 yards!
Living with your art is important. The light changes through the day, you see relationships in a casual way, and the setting influences the scale of the work. And it is easier to convince someone else to own it, as well.
Came across this plea still tacked to the cabinet that was for sale in the antique store near home. Asks "PLEASE HELP ME KEEP THIS PLACE IN ORDER". Not a bad idea for the studio. Where I will find the help, don't know.
When I asked students to bring in their wildest printed fabric, I was looking exactly for this. A large scale Marimekko fabric with lots of punch, as well as a fabric that begs to be used. It worked beautifully for this exercise.
Today's class in Cleveland, with Northwest Coast Needlers, had this design. We are trying out what would work to fill in the corners. Ended up with the green in the lower right. Lots of work, and lots of great solutions using half-square triangles.
Yes, I brought the snow to Olmsted Falls, Ohio. A quick visit to Abigayle's Quiltery to find some wild fabric for tomorrow's workshop. Only to learn this was the "traditional" store. No problem, found some Jane Sassaman's fabric.