In between this and that (and it was a beautiful weekend) I managed to get the binding and hanging strip sewn on this whole cloth quilt. Now to sign, check for stray threads, and bundle up to send off to the Dairy Barn for their shop. One check off the list.
I've got a work over my couch that only gets light late in the day, and only in Spring, when no leaves are on the tree. This will soon head to an exhibition, and I'm soaking it all in until it has to leave.
Jenna was at our club's meeting yesterday, and this Shibori Half Square Triangle quilt came out for show and tell. We made this in a class at least 4 years ago, and I'm always glad to see a project finished, especially one that I had a hand in! Nice going, Jenna.
My studio divides in half from the sewing side to the dyeing side. So, distraction is just a turn away. Yes, I should be designing, but hey, how about those dyes that need to be used up? Monoprint gets some color wash over it -- just an excuse to use up the thickened dyes.
One of last night's line-up (on the right, from yesterday) is now in the final form. It is all my own surface designed fabric (secrets revealed in my Pro Chem Class next month) with a few skinny lines for good measure. Now to quilt.
Among hanging soda soaked fabric (May's Pro Chem), washing out yesterday's printed fabric (quilt backing SAQA auction), cutting silk for scarves (Mary), ordering screens (Pro Chem), I started four sketches (QSDS June). Weeding an hour, too -- my therapy.
Quilt Surface Design Symposium, where I'll teach in June, have asked me to send small works to display. They suggested a 24" x 24" size, so my mylar, with my handy-dandy frame drawn in marker, will check and edit, knowing the quilting changes the size.
Rochester Contemporary (ROCO) holds a fund raiser every year, and I met today's deadline to add my 6"x6" works. They will be in good company for the sale -- each is just $20 -- which starts June 3. Trick is to find these among the nearly 3000 works.
Thursday I visited a historic landmark in Naples, New York that has original stenciling from the 1800s. I admired these shapes from work I did 30 years ago, and finally got to see them. Still thrilled to see those flat, cut out shapes. And notice the leaves? Love them leaves.
My ideal work table is counter high, wide enough for a good large mat, and lots of space to cut, piece, and sew. But, during a workshop, comfort is not always there. Good thing that others can overlook the perfect setup for a day of trying out something new.
Liz took advantage of my challenge to make her New Big Leaf block from one yard of my hand dyed fabric. The block is not sewn, but you can see how spectacular it will be. Such a fun, hard working group yesterday at the Towpath Quilt Guild. Thank you for having me!
There is motion in One Patch with Tufting, by Lucy Strauss. A wonderful play of flowering blooms of thread spread over an entire field of color. Made around 1930, it is from a current exhibition at the Munson Williams Proctor Institute in Utica, New York.
Today at the Munson Williams Proctor Institute to see the quilt exhibition there. Made in 1922, this quilt looks totally black, but my camera shows the variation in the cloth. The stand-in for tonight's full moon, this pitch dark work suggest (to me) the stars in the night sky.
My "painted" fabric is fun, but needs a project. Since I'll be teaching The New Big Leaf class on Wednesday, I used it here. Cut from mainly one yard, I like it! I'll be teaching how to make this fabric at Pro Chemical and Dye. https://prochemicalanddye.net/. And at QSDS in June, I'll show you how I compose and design. http://www.qsds.com/aboutqsds.html
Albert Paley's massive sculpture Sentinel (it is the largest sculpture on any American university campus) at the Rochester Institute of Technology was lit with the evening light. I was there for a fun evening of expert juggling,
To cut fabric for dyeing, I like to measure a generous yard. My table is 36" from the floor, so if I let the fabric touch the floor, add a bit more (maybe a hand's width), I can snip and tear my piece.
Waking to another snowfall, I just wanted to be warm for a while. I headed to the First Friday open house at More Fire Glass Studio to see some fine glassblowing by David Schnuckel (and sit as close as I could to the furnace). Visit the Studio in Rochester, New York.
On my way to Rehoboth to teach, I stopped in the Philadelphia Museum of Art. Glad to see another work by Wharton Esherick. Named the originator of the modern crafts movement in the US, Esherick had the brilliant ability to sculpt functional objects into art.
The Skinny Line Leaf's class had me and the quilters working like crazy. I forgot to snap even one photo, so here is what I did the day before class. A quick step on Coin Beach near Rehoboth, Delaware. Good thing I don't live here, I'd get nothing done!
I'll be in Delaware next week to teach how to make these little skinny line leaf blocks. It is a great practice in improvisational techniques, sewing a skinny line, and using color. I'll also teach improv quilting at Quilt Surface Design Symposium in Columbus in June. Come and see me!