The start for hanging. This time my work will be at the Geisel Gallery at Legacy Tower (formerly the Bausch and Lomb Headquarters) for the month of October. The layout is finished, and for once, I won't have to do the installation. Relax time.
Saturday's class had this dynamic duo. Dwight and Maureen tackled the New Big Leaf at the Sew Inspired quilt shop in Simsbury, Connecticut. You can see the great space, and how dedicated all were to work like mad. Don't let that fool you, we had time for lots of laughs.
There is more surface design, all my favorites, here in a detail of "Pink Leaf 4 (yellow)" which gets boxed and shipped tomorrow for the Fiber Currents / Current Fiber show. Good to see things clearly and close up.
I've been printing fabric with a lot of white (at least I am trying to keep the white) and I refer to these random shots with color streaking through -- to hold white ground that shows it all off. Takes a restrained hand. We'll explore this next weekend at Studio Schweinfurth Oct 3-4 "Surface Design Sampler". There's still room to join us!
I'll be at Sew Inspired in Simsbury, Connecticut for Saturday's "New Big Leaf" workshop, and this little painting by Connie Ehindero may be the color inspiration. See at the MAG's Clothesline festival.
This October 7th I'll be in Saranac Lake doing a workshop "Improv Sketches in Quilt Design" for Art at the Pink House. We'll be working small (I know, hard to imagine ME working small -- this one is 12" x 20") with tips and techniques for compositions that will be delightful small works. Join me!
"Orcas Over Saturna" is going to a new home. I was asked by the owner-to-be if I could turn it one quarter and allow it to sit that way. Sure, and it looks more like the orca is diving. How funny. Good design is good no matter how it is turned.
I've got a new trick, and I can't wait to share it with my class this October in Auburn, New York. I'm about to pull a print on fabric using my PATented plate. Want to know how? Gotta be in the class! (And if you guess, keep it under your hat).
I've printed this fat quarter, then let the one on the left sit for 4 hours before washing, the middle is unwashed, the right is overnighted before washing. Not much difference to my eyes. So, looks like that 4 hours wait for the dye to set is all I need.
I'm doing more printing in the run up to the class at the Schweinfurth Art Center the first weekend in October. This is a quarter yard that has been soda soaked. I've more to put on it, a few more layers of color.
I don't normally try out patterns for the work, I just go at it. This is a sample. The next time, I'll be quilting for someone else, and must rein in my style of quilting. Also, I've taken a tip from Linda Visnaw and tried some overlapping lines. Might just work.
Judith Plotner invited me to be part of the show "Fiber Currents / Current Fiber" set to open October 23. I'll be shipping my work "Pink Leaf 2" for that. So tickled to make the cover of the postcard. I'll be visiting before it is over December 18.
Wanting a simple and functional piece for her first granddaughter, a friend asked me to make something simple in the color range that was very neutral and tight. We saw something like this in the QuiltCon magazine, and here is the design wall. Now to decide on the quilting.
A glorious fall day. I feel like these apples -- a bit blemished, little rot here and there, happy to still have leaves, and wonderfully tart underneath it all. They are happy, even in their chipped phoenix ware bowl.
Just because I'm nice, I'm adding, in each corner, a square of tyvek that I cut from used USPS mailers. This is part of the "kit" for my class at the Schweinfurth in October 3 & 4. Figure that we can all add our names to the works before they go in the wash. Otherwise, I might claim the best for me.
These yards are drying outside on this perfect day. I'm getting ready for a surface design class at the Schweinfurth Art Center October 3&4. These will soon be gloriously printed, stamped, and monoprinted. Can't wait.
At my annual pilgrimage to the Memorial Art Gallery's Clothesline festival, there is always something new. These ceramic sculptures by Stephen Fabrico were big scale, and just the right thing for garden punctuation.
Every now and again I trip across a piece that makes me want to do one just like it. This is "Cut, Sew, Stuff-Recycled" by Sandy Glowacki from today's Twilight Stitchers Quilt Guild in Brewerton, New York. She used that printed fabric made up for instant dollmaking. I just love the random edits.
My table will be set with fabrics that I have made at the "Best Little Quilt Show in Town" that the Twilight Stitchers is putting on in Brewerton (Syracuse) New York tomorrow. But not these. They are from my discharge-at-the-barn-with-Bev day. I'm just not finished with them yet.
Louise Nevelson's work "Bicentennial Dawn" in Philadelphia has an enormous granite building wrapped around it. I couldn't figure out how to get inside, so just looking through the glass was my option. It's "A Multi-Unit Sculpture" from 1975. Philly's 1959 rule that asks developers spend one percent of the construction costs for public art.
Kathie's New Big Leaf was undoubtedly the most cheery. My workshop in Horseheads, was just around the corner from Corning. What a great group of women, and very hard working. Hope I can see this one finished.
My Shibori Half-Square class doesn't discriminate. You can use ANY fabric. Here is a set of rather wild hand-dyed fabric (not mine) that is getting set for the framing squares. Pretty wild, but that is the total fun of it. Thanks, Elmira Piecemakers, for a fabulous day. See you tomorrow!
This weekend I was in Philly and saw the Barnes Foundation's new museum. A case of Native American Pueblo pottery was my favorite spot, with this from the Acoma Pueblo and made about 1890. I know there were fleshy Renoirs galore, but the graphic nature of this pot arrested my walk.
For the class this Tuesday in Elmira "The Shibori Half-Square Triangle" I use drywall T-squares. I get them from Home Depot or Lowes and they are about $11. Great for squaring up the finished quilt, too.
Since I've toured you through the Schweinfurth's exhibition, let me show you what is stopping my heart. The first weekend in October I will be teaching a surface design class -- monprinting, stamping, more -- and here is the well equipped wet studio. Imagine - washer & dryer! Times two!
Matt Frieburghaus' Untitled Icebergs blew me away. A continually looping video, it captures the still beauty of the ice landscape, while adding floating and flying specks of things. The colors are so restrained and beautiful. Yes, this is part of the Water Effect exhibition at the Schweinfurth.
Leigh Yardley intrigued me with her work Field and Stream, on view at the Schweinfurth Memorial Art Center. With materials added to a plastic/vinyl base, she cut holes, slices, sewed, painted, and a whole host techniques to get this wild result. The shadows behind it are worth the close up inspection.
No, more like a tsunami. This is Rising Water by Mary Giehl, her response to the Japan disaster seen at the Schweinfurth Art Center's exhibit Water Effect. It is all hand sewn from bits of craft felt. I'll attach a close-up. (And you know my one image rule, so you know this is a special day.)