Friday, November 16, 2018
One of my students has already finished the piece begun in the Loose Threads workshop last month. Linda Bohlen sent this photo of her little quilt, "Snow on the Mountain."
She thought the diagonal lines looked like a mountain range, and added some hand stitching to make a dusting of snow on the peak.
Thursday, November 15, 2018
Here's another workshop piece from Loose Threads that started as large-to-small -- one piece of fabric, sliced and restitched with a very skinny line of fabric between the two halves -- and then turned into small-to-large on the second day. The very densely pieced small-to-large areas, because they can incorporate different colors in different combinations, add a lot of pizzazz!
And she's not done yet!! I'm waiting to see how this all turns out.
Tuesday, November 13, 2018
A couple of weeks ago I wrote about leading a workshop for Loose Threads, a small group of fiber artists in Evansville IN. When I teach fine-line piecing I like to spent the first day slicing up large pieces of fabric and piecing them back together with very skinny "mortar" lines. The longer you work on something, the more lines will appear and the more complex the composition. You can also turn the pieces upside down or add a second color before you sew it back together.
The second day we worked with a different method of construction: starting with small modules or strips and building them up into larger expanses. Some people stuck with their first-day compositions and made them even more complex with new modules.
second day afternoon
The moral of this story, I guess, is that when the schedule says it's time to stop and move on to another task, sometimes it isn't.
Tuesday, November 6, 2018
I wrote recently about a SAQA exhibit called "Forced to Flee," about the world refugee crisis, that I wanted to enter. I spent much of the summer making people out of old quilt fragments, enjoying the bedraggled, faded and distressed quality of their clothes. I decided to enter this competition because 3-D work was encouraged, and my first thought was to stand the people on some kind of base, arranging them either in lines or in a crowd. So I constructed each one around an armature of aluminum wire that could be inserted into a hole in the base.
When I visited my art pal Paula Kovarik in September I had my bag of quilt scraps and people with me, to work on during spare moments, and when I dumped them out on the table to show them to her, she thought it might be more powerful to just have them in a heap. "Huddled masses" should come to mind in this presentation. The more I thought about this suggestion, the more I liked it. That would also make it easier to ship the piece if it were accepted.
But I didn't want them to be lying down in the heap, implying they had died or given up; I wanted them to be alive and looking us in the eye, holding us to account for what happens next. That argued for displaying the people on a vertical support, emerging from the wall like a bas relief. I happened to own some pre-stretched canvases that weren't actually canvas, but burlap, and thought the rough texture was appropriate to the subject matter.
I checked my supply and found two 12x12s and one 8x16. The short, wide one seemed to be best, and I started to arrange the people on it. Then I quite by accident went back and read the call for entries: the minimum size was 12x12. That seemed to rule out the 8x16 canvas. So what next?
I rearranged the heaps. One 12x12 canvas was too small for the number of people I had made; two of them seemed too big. Too late to make more people -- I had had to wait till my show was open before I could finish the project. The opening was Sunday afternoon; the entry deadline was Wednesday night, which wasn't a lot of time.
Finally I had a brainstorm: use the 8x16 canvas and let one guy be falling off the bottom, at least 4 inches worth!
Now comes the part that always seems unnecessary -- waiting six weeks for the juror to make up her mind. Now that online entry programs do all the sorting and recordkeeping for you, there doesn't seem to be any reason why show organizers can't have the juror ready to go the week after the entry deadline, and make decisions a few days later.
I think the six-week turnaround is a holdover from the olden days when show entries used slides, which had to be manually taken out of the entry envelopes and arranged in trays, and reshuffled as the juror(s) narrowed down their choices. And the high-end shows that bring multiple jurors into town for in-person presentations still need more time for human logistics, if not photo logistics.
But why should we be tied to six weeks lead time when the only non-computerized task is for a juror to sit down at a computer screen for a day or two? Just wondering.
Friday, November 2, 2018
The show is open for business -- sketchbooks from a year of drawing out on the mantelpiece:
Daily hand stitching:
article on the show by our local visual art association.