Halloween Likes Skinny Lines

Finished the scrappy Skinny Line Leaf quilt in time to serve up the candy. Now on to the next in the queue.

Skinny Line Leaf with Shibori

Here ya go. Skinny lines, gentle curves, with a half yard of shibori plus a yard of hand-dyed. I'll take this with me when I teach this class. For sure this June at the GVQC show here in Rochester.

Plodding Along with Leaves

I've slapped two pieces on at once to quilt. Now they are off the frame, pinned on the wall, spritzed down, and left to dry overnight. Me? I'm going to bed.

Foot (Steps) In Time

Long before I made a quilt (1981), I made this (1977) as a get-well gift for a friend. On a visit to see her today(2014), I became reaquainted with it. Stars were silkscreened (1971), the red wool tabs were remnants from a coat I made (1974). Ah, history.

Skinny Line Leaf, Now with Lines

In piecing those skinny lines, I figure that I can use 1/2 yard of shibori, 1/2 yard of hand dye. Love the effect, and maybe I'll offer this for the GVQC Quilt Show early June when I teach "The Skinny Line Leaf." Now to connect the blocks, add the frame, and quilt.

Again, With Hand Dyes

Can't leave this block alone. I pulled some of my newly minted hand dyed fabric and tried the block using a half yard for the leaf, and a half yard for the back. Can't wait to add the skinny line.

Won't Be Raking These Leaves

Working out the details for my class on "The Skinny Line Leaf" has me revamping the sizes. And I think it would be great if all the leaves were the same color. Back to the design wall tomorrow. This one I'll quilt up, after I get a nice border on it.

Monkshood on My Walk

Yes, the most deadly plant, and I was all over it to get the best shot. Latin name is Aconitum Napellus, every part of the plant contains the poison acondite. It can cause a horrible death. Best to know what beauty can do. And wise to be "hands off."

Blog Hop

A friend, Paula Kovarik, asked me to take part in a blog hop. Her work is amazing, and you can see it here http://paulakovarik.com/. In her company I am just a toad stool. I was to post here October 11, but while I was relaxing in my deck chair, I had real work far from my mind. Now, back at the office, I am at the task. So, this is an unusual post for me here. Long, with commentary, multiple photos. I hope you can bear it. (above detail -- Time of Day: Coffee Break )

Also, I have tagged Judy Kirpich, a strong and creative artist, who will answer these same 4 questions sometime next week on her blog. Go visit there, and be prepared! Find her at http://unmultitasking.blogspot.com/

Here are my questions:
What am I working on?
How does my work differ from others of this genre?
Why do I do what I do?
How does my process work?

I'm not much public responses, so here goes.

I am working on a series "Time of Day." What intrigues me is how we move through the day, what starts and stops the day, how we treat the day's segments, and how these punctuations tick the passage of time. Making these "times" into imagery is a different matter. Talk is descriptive, but translating into color, pattern, line, is another matter. I find this challenge good sport. (below-- Time of Day: Happy Hour)

Why do I do what I do? I construct imagery mainly in two dimensions using fiber. I would paint, and painting is certainly part of the preparation of the surface design, but the ability to construct, reform, change dimensions, reconfigure, enables me to break the constraints of the confines of stretched canvas. The act of building is the major reason I work in fiber (mostly fabric).

My process often starts with a collage or fabric/paper sketch. I am not a fan of line drawings, (okay, the above line drawing is the sketch for Time of Day: Dusk / Dawn) as they don't provide me with enough information on shape and mass. I piece spontaneously, combining fabric to see relationships that would not occur had I not joined them randomly in no plan. I love a challenge, and a theme always gives me visualizations to use. (below is Time of Day: Dusk/Dawn)

There are thousands of quilt artists. And often I see work that resembles mine, just a bit. But my work differs in its strength of form and abstraction. Oddly enough, I don't see my style has changed much since I first started working in fabric in 1981. It is still abstract, color rich, and large scale.

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On the Wall, Finally

It took a while to wade through my waiting paperwork, but I finally got back to the studio to start work on a proof of a piece I will be sharing at the Genesee Valley Quilt Festival this next summer. Guess I wanted some color in my life, lord knows its all around this fall.

Not Looking at the Plantings

I know, I know. I was supposed to be looking at the wonders of what grows in Victoria, B.C. The perfect and majestic pines, the quiltessential bonsai. But this concrete clad arbor had me stop and ponder.