I am working on a fairly large piece at the moment, and one part needs some thread painting to add dimension. The background fabric is a mottled light gray on white. I wanted to use variegated threads for blending. Unfortunately, my stash only included one spool.
I visited my friends at Red Rock Threads and ordered every item that looked like it might work. (For those of you who will holler at me for not shopping at my local quilt shop--none of them carry all of the brands/varieties that I need for this, and one-stop shopping saves me a lot of time which is a very important consideration at this point.) Buying online is a bit of a guessing game at the best of times with monitor synchronization issues, and of course my aging eyes. I ordered nine spools from various manufacturers, anything that look like it might work.
They arrived yesterday, and there was quite a bit of variability. This is good because I need lights, mediums and darks for my project. One spool turned out to be purple, which I am blaming on the above mentioned aging eyes. All the others looked pretty true to what I "saw" online. The first photo in the column to the right are the spools of thread, including the one from my stash.
Based on this first look/see, I was tempted to go with a few of the spools and abandon the others. But I had a piece of fabric/batting already prepared so, for once I decided to sew them out. This goes against my nature, as I am a fly by the seat of my pants sort of girl. But on occasion the Virgo side of my nature asserts itself. Very rarely.
The results are shown in the second photo--the stitch outs are in the same order as the spools in the first photo. I'm happy I did this, as I will be using many more of the spools than I originally supposed. I admit, that this can be useful, grudgingly. But don't go expecting this type of behavior from me on a regular basis.
And if you see a large shadow over the moon some night, it just might be me. And the seat of my pants of course.8:39 am pdt
Saturday, April 7, 2007Ooops, Error of Omission
I almost forgot. I also completed a commission for a wall hanging. This was for a fund-raising auction. I had just completed a class with Janet Taylor at Arrowmont and came away with a nifty printing technique which I just had to try out. The result was Seasons of Splendor. Each block was printed then overprinted (Setacolor used as ink). Then they were hand-inked. Then machine quilted, then more details added by hand stitching. All put together with artist-dyed fabric, and a hand-painted canvas backing.
Ahh to have more time to play with this!1:59 pm pdt
No, I haven't died or taken a vow of no Internet access. What I have been doing is working, working, working.
Last year, just after creating this blog, I made a commitment that for 18 months I would work to get my pieces into whatever type of exhibition I could find that would take them. My goal was to build name recognition and have a resume' that consisted of more than my name.
The postcard of Arizona was the opening kickoff. Next, I made a piece for an exhibit called Doing Small Things. The piece is called A Safe Place.
I also made a piece for the Alliance for American Quilts, Put a Roof Over Our Heads exhibit. All the pieces are made in the shape of a house. They are on tour until the end of the year, when they will be auctioned off to benefit the organization. My piece is called Art, Its a
I made a piece for an exhibit called She Made Her Mark and was overjoyed to have it selected for exhibition at the Quilter's Hall of Fame Museum in Marion IN. My first juried exhibition. The piece is very close to my heart, as it is about my Grandmother. It is called Julia Krichkowski: An Immigrant's Journey. I remembered from my childhood when she learned to write her name, and that is the event that I depict along with the symbols of her native country and her chosen homeland. Below the main piece hang icons representing her children and grandchildren. Although she came to this country alone and illiterate, her son was the family's first college graduate and only two of her grandchildren do not have an advanced degree. This was my first venture into linoleum block printing since 4th grade.
A few days ago I learned that Bridges 4: Simple Arch Distorted has been accepted into Tactile Architecture 2007. Scroll down for a look.
As you can see, I have made considerable progress on building my resume'. And my 18 months aren't up until July. I'm working on a very large piece at the moment, and I'm committed to the final year of The Journal Quilt Project. After that, well I'm not telling just yet!1:14 pm pdt
I spent some time making postcards for Fiberart for A Cause, a fundraiser for the American Cancer Society. I had read that postcards should take an hour or two to make. Not so for me, they take about four hours for me to complete. Maybe its my adlib design style, with endless ideas, decisions and adjustments made along the way. More likely it is my refusal to use fusables unless I can't figure out any other way to proceed. This isn't a judgement on folks who fuse. I just don't like the way the fusible feels, and how it is to work with. Maybe I just don't date the right fusibles! At any rate, here are the results.
This is a combination of raw-edge applique and thread-painting. A little Angelina for glizt, along with both metallic and rayon threads.
This one began with an unsuccessful project, which I cut into postcard size fragments. When I tipped this one on its side, it looked like a shelter to me. I free-hand cut the figure from Angelina, and quilted in a minimal amount of detail to make the figure more obvious, but not distinct. I added shingles and texture for the shelter and followed the marbled fabric background with quilting lines.
Now its back to my work in progress. Till next time.
8:37 am pst
March 7, 2006
When I woke up this morning, I had no idea that I would be publishing a blog before noon. This springs from my desire to be able to share my work with interested parties--fellow artists, potential customers and the like. So, here goes.
This is my first ever postcard and it came out of a very bad day--I was stalled on my bigger project (more on that later). I wanted something to do and I didn't want to make a major commitment, so I could get back to the bigger project when my supplies arrive. I came across a call for entries (http://www.tohonochulpark.org/) for "Wish You Were Here: Fiber Art Postcards". Postcards would document a real or imagined place or event in Arizona. So I decided to give it a try. This was fun, and relatively quick (once I got the open toed foot for my new machine!) and has inspired ideas for some other projects.
Bridges Series (2005)
I am fascinated by bridges (according to my sister, its an obsession). To me it is the place where architecture and art meet head-on. There is something so improbable about a bridge--its like flying, we know its possible, but its still hard to believe it can be done. Many bridges have become icons--the Golden Gate and Brooklyn Bridges come immediately to mind. The concept of bridge--to unite two opposing sides, is very powerful. Many of the most exciting modern architectural designs today are centering around bridges and they are being created by new teams combining architects, engineers and ARTISTS!
This is based on a foot bridge in Nepal. It is an abstraction of the railings, turned 180 degrees.
This is a simple arch bridge block which I have distorted by warping the shape of the block. There are 32 blocks and each has a unique quilting pattern.
This is based on the Roman aqueduct at Segovia, Spain. In addition to the standard techniques, I have used oil paintstiks, and angelina fibers for embellishment. The embellishment plays on motifs in the fabrics.
Bridges 6: From Arch to Icon
Here is the same arch block from Bridges 4, turned on its side. In two colors, I thought it looked like the icon for information. This plays on the theme of the iconization of bridges.
That's it for today. A retrospective of my recent work (since Sept 2005). As soon as I take some shots of my work in progress I will post.
Till then--stay on track, even when its rocky and rough.