Daily art on the cruise 2

I wrote in my last post about a large piece of stitching that I did on my cruise, and said that I was not pleased with the result.  

The next piece I worked on made me much happier.

stitching, July 31

It was fun to be working on color after two weeks of beige, and I started out making little stars in the corner for a sky, but after only one day of stars I shifted to blanket stitch across the bottom for the earth in a landscape.  And after only one day of that, I realized that the sashiko thread wasn't playing well with blanket stitch.  

stitching, August 1

I don't have a lot of experience with sashiko thread, despite having admired its use by many other artists.  A friend gave me a package of it some time ago, but I only started using it earlier this year.  I love it for straight stitches, but apparently the blanket stitch causes the thread to twist and I found that after four or five inches, the two strands of the thread would start to separate, and I didn't like the looks of the stitches with the two distinct strands.  I compensated by twirling the thread in the opposite direction between finger and thumb every few stitches, but this was tedious and imperfect.

Before too long I was planning my exit strategy from blanket stitch, plus an exit strategy from the six-pointed stars, which I realized would be boring if they filled the whole sky.  There had been a supermoon earlier that week, with lots of nice pictures on TV, so I decided to put a supermoon in my landscape.  I wanted it to be perfectly round, so I made a template and filled the circle with tightly packed coral stitch.

stitching, August 6

The moon went slowly, and on August 10 I had a disaster, taking a classic face-plant fall when we were ashore in Ireland.  I smashed my glasses and ended up with a beautiful black eye.  That left me coping for the rest of the trip with my $2 glasses that I had luckily stuck in my cosmetic case just in case.  They focused about 24 inches from my eye, perfect for computer work and acceptable for reading on my phone, but not well suited for precise embroidery. 

I could see well enough  to finish the moon and start a new density of sky, in which I picked up only one thread in a tiny dot of a stitch.  But I couldn't see well enough to actually do the tiny stitches accurately.  So in a snit, I switched to another piece of fabric and started a new stitching.  It was not well planned, and it looked terrible.  So I slunk back to my blue landscape and resolved that I would figure out how to soldier through for the ten days left in the cruise.

Turns out that sometimes you can overcome adversity with a good attitude and a willingness to try what seems impossible.  I found that I could reliably make stitches over a single thread of background fabric by feel, if not by sight.  The hefty homespun-type fabric had fat enough threads that I could place the tip of the needle at the hole where the thread emerged, then carefully move it up and over one thread and stick the needle in where it came down over the hump.  This worked for probably nine stitches out of every ten, and on the tenth, I was willing to pull the thread out for a do-over.  

stitching, August 23

At home, of course, I wouldn't dream of being so picky and patient, but what else was there to do while listening to lawyers talk about the fine points of mugshots?  It was surprisingly calming to slowly stitch a Milky Way across the blue, and I finished the piece a couple of days before we came home.

Daily art on the cruise 1

I do daily art, you know, and I gave some thought to how to do this while traveling.  Most of the time this year I have been doing a separate small piece of stitching each day, working from my huge inherited stash of my friend Joanne's leftover fabrics.  But I didn't want to have to prepare 35 pieces of fabric to take along.  So I found four large pieces, packed a couple of skeins of white sashiko thread and worked a little bit each day. 

The routine on a cruise ship varies depending on whether you're at sea or making a port stop for the day.  On sea days there are more activities such as concerts and lectures, and I did a lot of stitching during those events.  But where I really went to town was while watching the news.

There's a very limited repertoire of TV stations available on a ship, and our news choices were slim: Fox, MSNBC and BBC.  For much of our cruise there wasn't much to look at, but then we struck news gold -- the former president was indicted twice and mugshotted once.  For once there was actual news to be watched and discussed, and we were impressed by the legal experts assembled to explain the niceties of criminal procedure.  Many of them were former federal prosecutors themselves, and I learned a great deal from them.  And while I learned, I stitched.

As it turned out, I finished two of the four pieces I had brought along. 

I was reminded that seed stitch -- the bulk of the top half of this composition, where the stitches go in every direction -- is surprisingly hard to do.  If you want your little lines to look random, you have to think several stitches ahead to avoid a lot of parallel pairs.  Not so much thinking as to take your mind totally off your music or news, but enough to slow you down considerably compared to running stitches.

I was not thrilled with how this piece turned out.  The blanket stitch "railroad tracks" through the middle drew too much attention without being particularly beautiful, and the spirals didn't stand out all that much from their backgrounds.  I think the drab neutral background would have been better with a colored thread or at least some colored accents, but I had nothing with me to do that.  I was glad when I finished it.

I'll show you the other pieces in the next post.

The great trip -- Greenland

In this summer of terrible weather, we accomplished our goal of escaping the traditional misery of July and August in the upper South: heat, humidity, air pollution, thunderstorms, power outages.  And it worked, as we took a cruise to Canada, Greenland, Iceland, Scotland, Ireland and back again.  The weather there was great, with the occasional cloudy or drizzly day but mostly sunny and cool.  One day, as we sailed through the scenic fjords, waterfalls and glaciers at the tip of Greenland, I sat on our balcony for several hours, periodically adding more and more clothing until I was wearing every outer garment I  had brought along, plus a blanket.  Heaven!!

one of many glaciers in Prins Christian Sund

This cruise took us mostly to smaller towns (which is pretty much all there is in the countries we visited) so our days ashore didn't include a lot of excitement.  We don't like to spend hours on a bus going on the very expensive shore excursions, and our ambitious hiking days are decades in the past, so our typical routine was to get off the ship, walk around town for a while, find a place to have a beer, and return to the ship.  Usually Ken went back first, leaving me to wander about and take photos at leisure.

Paamiut

The towns in Greenland all have bright and cheery color schemes, the better to show up against snow and clouds, but they are small, isolated and minimal.  None are connected by road to anywhere else.  I was simultaneously exhilarated by the beautiful surroundings and the depressing realization of how limited life must be, especially for the young people.  Yes, the coming of the internet has opened up the world virtually, but physically how many of those kids will ever be able to get anywhere else?  Parts of these villages had the same forlorn vibe as Indian reservations we have driven through in the US -- but maybe we're projecting our emotions onto people who don't feel the same way we do.

a boatful of people from Aappilattoq

As we cruised past a tiny village, population about 100, a little armada of boats came out to say hello.  People loaded up their kids and zipped around the big ship, waving and hollering.  Two boats pulled up together so a couple of children could climb over to join their pals, with all the nonchalance of our kids going from one parked car to another.  (Nobody wore life jackets and I held my breath while they made the transfer.)  Certainly the best entertainment of the day for the locals, and I wondered if they do this every time a cruise ship passes.

Nanortalik

I felt twinges of guilt as I wandered about and snapped the boats, fishing equipment and containers, the older and more weatherbeaten the better -- was I being a rude tourist/voyeur?  Yes, there were shiny new boats by the docks, but the beat-up old ones make much better pictures.  Yes, I examined my guilt but then I took more pictures.  Mea culpa.

Qaqortoq

 

As you can see from the photos, there is junk lying around, as in any working environment, but the streets are clean, the houses are bright, the little kids are happy, flowers are everywhere, there is little graffiti to be seen,  and the air is probably purer than I've ever breathed at home.  

Paamiut

We've been in Greenland once before, many years ago, and I fell in love with it.  It was such a thrill to go back again, this trip blessed with far better weather than we had the first time.  Perhaps it's within the realm of possibility that I could even go there again....

At sea again

Nanortalik, Greenland 

Prins Christian Sund, Greenland 

For 50 years we've sweltered through Louisville summers and asked ourselves why we don't go somewhere cold for July and August.  This year we finally did it, and set off for a cruise to Canada, Greenland, Iceland, Scotland and other cool climes.  We're in Rotterdam today at the halfway point, and will head home on pretty much the same route.

You can keep your sunny beaches, I am drawn to the cold places.  And we're getting our fill on this trip!

Some beads and a nostalgia trip

daily stitching July 14

A couple of days ago I wanted to add some beads to my daily stitching, and had the idea to make them stand up in a tower instead of just lie there on the fabric.  And as I started sewing them on, I thought of Sandy Snowden.  Sandy was one of my good internet friends whom I never got the pleasure of meeting in person, although other in-person friends of mine were also in-person friends of hers.  

Sandy lived in England and was an avid garment sewist as well as a lover of quilts and hand stitching and an enthusiastic blogger.  Sadly, she died in 2020 but her husband has thoughtfully left her blog online, and that allowed me to indulge in an hour of nostalgia.

In 2019 Sandy did a daily art project involving beads, 24,000 of them, to commemorate 24,000 Christians in India who were physically attacked in the previous year because of their faith.  She wrote, "I wanted to see just how many 24,000 was." 

Each day for 300 days she sewed on 80 beads, sometimes in towers (standing straight up from the fabric, attached at only one end of the queue) and sometimes in loops (attached at both ends, standing up like an inchworm).  She finished the year by adding words around the edges of the composition.

Sandy's finished project

Sandy put a small sequin underneath each bead tower, for a bit more structural stability, but unless I happen to find my stash of sequins in the very near future, I'm going to do my own beads without that step.

Sandy's project in mid-July 2019

As an aficionada of daily art, I have always enjoyed it when one of my internet friends embarks on a daily project, and I follow along closely during the year. Going back through Sandy's old posts that year, I came across my own comments many times, which made me happy that I had been able to stay in such close touch with her.

I don't know how long I will keep stitching bead towers in my own daily project this year, but I'll be thinking about Sandy while I do it, and about how the internet has allowed us to make connections and friends across the continents whom we would have probably never met in real life.

daily stitching July 15

daily stitching July 16

daily stitching July 18

Someone else's trash becomes my treasure

Last year my good friend moved to Atlanta, and realized that she owned a whole lot of stuff that she didn't want to take with her.  So she held an open house of sorts, in which friends were encouraged to take home anything in two big upstairs rooms.  I of course could not resist, and found all sorts of treasures, including but hardly limited to a guillotine blade paper cutter and a 1950 edition of Webster's New International Dictionary.  I've been using the paper cutter for myriad projects, and cutting up the dictionary for art.

But today I want to talk about a special find: a huge box full of the ribbons and medals that my friend's daughter won in a long and successful swimming career, spanning many years from childhood through high school.  The minute I saw them I knew they were perfect fodder to be turned into "postage stamps" for a grid quilt.

The ribbons were two inches wide, with woven selvages, already a bit stiff with some kind of sizing, but I backed them with nonwoven polypropylene for a little more substance.  As soon as the backing was sewed to the ribbons, I sliced them into squares with a pinked-edge rotary blade, and then continued with many more rows of stitching in different colors.  There was no fraying or raveling (a big improvement over previous postage stamp projects) and the gold letters and pictures sparkle when the light hits them right.  

I watched a great deal of trash TV last August while mindlessly feeding hundreds and hundreds of squares through the sewing machine, and eventually counted and bagged all the finished squares and stashed them away in a big shoebox.

I pulled the shoebox out again in April and started sewing the squares together into a grid.  Having learned from experience that the larger the quilt, the more tedious it is to sew it together, I decided to make three separate panels and hang them as a tryptych.  It was so easy to put these smaller panels together that I zipped through the final assembly stage in less than a week.

And now the finished quilt -- "Competition" -- is hanging in the 20th Anniversary Show at PYRO Gallery.  I think it looks great, and it was probably the most painless major piece that I have ever made!  

 

Blast from the past

My friend-since-graduate-school sent me an email the other day with a photo of a quilt:

I made this quilt 50 years ago for her son Kimo, who is about to have his big birthday.  It's obviously still in circulation in the household, perhaps used by one of his kids.  

I had never taken a picture before I mailed it off, and I am thrilled to see it again.  I remember the actual design and construction, and how I struggled to make it.  I had cut out the beautiful curvy motif, turned under the edges and pinned it carefully to the background.  But when I started to sew, it slithered around and thus became all puffy and bulgy.

With hardly any quilting to hold things in place, the bulges have survived the decades.  So have the vivid colors, since the fabric was largely polyester (that's pretty much all we had in the early 70s).  

For me, the photo is a reminder of how little I knew about quiltmaking in those days -- and no wonder, because I was totally self-taught, without benefit of the myriad books, magazines, workshops, quilt shops and quilt guilds that later turned quilting into an easily-accessed industry.  Fortunately, I have learned many things since then, and not just about quilts!

The photo also reminds me of my enduring love for the curvy shapes that I stole from Henri Matisse.  You probably know about how the great artist, having lost almost all his sight, turned to scissors and paper when he could no longer paint.  He cut these shapes, along with dancers and stars, and made a body of work that is stunning in its simplicity and power.

Henri Matisse, The Sheaf

Kimo's quilt was the first time I had used this motif, but it would certainly not be the last.  Years later when I learned how to do free-motion quilting, I used this same curvy rhythm to fill space.  I called this pattern "Matisse" and have taught it to many students.  

Sometimes I make little motifs in rows.

Sometimes I let the curves sprawl across large areas.  

Just looking at the photos makes me want to go down in the studio and sew Matisse curves onto something!

 

More daily Joanne

I wrote last week about my daily art project for this year, and showed you several collages that depended on the prints in my friend Joanne's leftovers.  My task in working with these strong patterns is mainly to find a few that want to play together, then put them together and stand back.  On the other end of the spectrum are the pieces that I make on solid color fabrics, or those with minimal patterning.  Those generally serve as the base for more elaborate stitching or applique.

mostly blanket stitch, plus an appliqued moon

cretan stitch and a few beads

machine appliqued tiny trees, about 3/4" from ground to tip

stacked running stitches make mandalas

more stacked running stitches

Daily Joanne update

I told you several weeks ago about my daily art project for this year: to make a small stitched collage using fabrics that I scored from my long-time art pal Joanne Weis.  She cleaned out her huge stash of fabrics that she had dyed and surface-designed over two decades of making fiber art, and I brought home two huge garbage bags full.  I have been reveling in the huge array of different fibers, colors, patterns and techniques that she used to create wonderful fabrics.

Most of her fabrics have some kind of design printed or painted on top of a dyed base.  My challenge is to add enough of my own work on top so that it stops being Joanne's work and starts being Kathy's.  Usually that has been stitching, mostly by hand but occasionally by machine.  Sometimes I meld bits from several different fabrics and try to put them together into a single cohesive composition, unified by stitching.

This collage started with two different pieces from the Joanne bags: the red-white-brown print on top, and the coral-blue on the bottom.  Joanne had laminated the green paper on top of the red print.  I added two strips of off-white to cover the join between the two prints, and two more to provide interest in boring parts of the red print.  Then I added lots of cross stitch in a few different threads.  I was particularly enamored of the messy torn edge on the bottom of the coral, and took pains to keep it intact.

This one started with a small bit cut from a sample that Joanne had already collaged onto the gold fabric at left, adding the green and white papers and a lot of yellow machine stitching.  I added a piece of the same coral-blue print that I used in the composition above, and tied it together with a strip of painted white paper.  I added machine stitching in a dark teal to pick up the blue of the coral print, and more stitching in yellow (which doesn't exactly match the original, but I think I'm the only one who will ever notice that).

This one started with a bit of fabric painted in yellow, pale turquoise and white.  I found some bits of blue that were left over from previous daily collages (I am scrupulously throwing away nothing of Joanne's stuff, because ever the tiniest piece may find a place in a subsequent collage).  I had torn 1/4 inch strips of the green sateen a couple of weeks ago, but didn't use all of it, so they got stitched on top.  I mounted the little collage on black (I was delighted to find about a half yard of plain black in the garbage bags, because sometimes you just need a plain fabric as a background or support).  Then I machine stitched curvy leaf shapes to hold the whole thing together.

I'll show you more of my daily collages in another post or two!

The juror speaks... part 1

Twenty years ago, I was one of a group of four quiltmaker/artists who helped start Form, Not Function: Quilt Art at the Carnegie, a juried show that has grown into one of the highly regarded venues in the US.  As a nod to old times, they asked me to serve as a juror again this year.

A lot has changed since those early years when we juried from slides, and then to digital images submitted on disk.  Now it's done through CaFE, an online platform that serves many of the big shows.  I've ranted several times in the past about my frustrations with CaFE as a show entrant, but never had a chance until now to be frustrated with it as a juror. 

Because I didn't wrestle with this particular setup as an entrant, I don't know what they did to confuse so many people, but apparently it worked.  At least a half dozen people were sufficiently confused as to enter two quilts on one entry form, one in the full view field and one in the detail field, and then a few went on to put one of the two into a separate entry form.  I hope nobody got lost in the shuffle with multiple entries (a fair amount of time was spent by jurors and show organizers trying to get those sorted out). 

In addition, many people attached their detail shot where they were supposed to put their full view, and vice versa.  I didn't count how many in the initial pool, but on our "short list" of 139 quilts, ten were switched around, which seems to point to some flaw in the system rather than just random user error.  

Arguably it is no big deal for jurors to see the full view and detail in the wrong order, but I noticed something that I have seen in many other of my jurying experiences:  I frequently liked the detail shot more than the full view!  And when that one came up first in the viewing window, I would think that was the whole quilt -- and then be a little disappointed to find that it wasn't. 

What does that mean?  Sometimes that wide borders and bindings and surrounds are putting too much boring space around the interesting part in the middle.  Sometimes that quilts composed of many versions of a recurring motif get carried away, with lots of smaller motifs distracting from the big, strong one that serves as the focal point.  (You knew that was the strongest part of the quilt, didn't you?  That's why you chose that for the detail shot....)  Sometimes it just means that less is more, that one strong, simple composition can pack a big whammy, especially if it's big. 

I was happy to find so many big quilts in the pool.  In our short list it is common to find quilts 6 feet square or even larger.  I don't remember how many years it's been since FNF did away with a maximum size, but I think the show has greatly benefited from that decision.  Many artists who want to play in the juried show ballpark have apparently decided that it's hard to make an impact with a medium-sized quilt.  I agree, and I found myself checking the sizes of the entries before assigning scores.  If an image looked great on screen (the same size as all the others) but turned out to be on the small side, it had to be really spectacular to get the highest ratings.

I was also happy to find that the artistic quality of realistic, representational quilts was pretty high. No rusty pickup trucks in this batch of entries, only one household pet.  I've always been biased against this genre of quilts, because the subject matter is so often kitschy and cliched, and because I don't think fabric is well suited to making realistic images.  But in this batch, many of the representational pieces had a distinctive artist sensibility, with a degree of abstraction and sophisticated composition that took them steps above the usual faithful rendering of a photograph into fabric; those were the ones that made it to the short list.   

I can't show you images of the quilts now, of course, because we're still jurying.  The show will open on May 11 and I promise to have lots of photos then to support my observations and opinions!  Stay tuned.  Meanwhile, because what's a blog post without a picture, here's Best in Show from FNF 2021.

Karen Schulz, Objects in This Mirror

Too much excitement -- parts 3 and 4

When I last posted, I was recovering from the double whammy of my husband's near-death cardiac event and the mysterious failure of the big mirror in our front hall.  I was hopeful that the worst was behind us. 

Of course, the worst was behind us -- it's hard to top a near-death event when it comes to comparing hardships.  But the hits just keep on coming.  Later that day we had a terrible storm come through, with wind gusts of almost 80 mph.  Our neighborhood was hard hit, with trees down all over the place, including on the power lines.  

We were without power for 76 hours, during which it was dark and cold much of the time, dark and somewhat warmer the rest of the time.  Outside of one afternoon when we camped out at a son's house, we stayed home and contemplated how boring it is to have no music, no internet, no sewing machine, no fridge, no TV.  We slept a lot, because it was nice and warm in bed even when the temperature in the house got pretty low.  Two afternoons I sat in the car in the driveway, which was nice and warm in the sun, and took naps.  

two blocks from our house

The power returned and to our delight, we didn't even lose the contents of the freezer, which were still covered in ice crystals and thus savable.  We had a couple of days of happiness just to be back in our home with everything working.

But little did we know.

Yesterday morning, prior to a grocery run, we went downstairs to see if we needed toilet paper in the seldom-used guest bathroom.  Well, needing toilet paper was an understatement, because it turns out that sewage was backing up into the toilet, the bathtub, the shower.  Apparently the entire sewer line leading out of our house has clogged up.  Every drop of water that goes down a drain will only raise the water table (or should we say the sewage table) so the house is effectively unlivable.

The plumber said he couldn't do anything without a helper, and that couldn't occur till Monday morning.  He also called the sewer district, just in case the clog is in the area of their responsibility.  They have been out twice and haven't been able to get their sewer-cam in position to inspect.  They're also coming back Monday morning.

So we're holed up in a nice cozy motel for at least another night, feeling sorry for ourselves.  My daily stitching has turned very dark.

Too much excitement

Last week in my house was filled with excitement, the bad kind.  On Friday my husband felt faint, got up from his computer chair, went into the dining room, and passed out, with a monumental crash.  Fortunately I was in the studio, not at the grocery store, and thus was able to summon the ambulance and get him to the hospital.

By that time his heart was slowing down, then stopping for as long as six seconds, then restarting itself to do the same thing over again.  Clearly that was what had happened to cause the fall and the crash, and the remedy was an immediate temporary pacemaker, followed by a permanent pacemaker on Monday.  Now he just has to heal up and he will be considerably better than he was a week ago, no more worries about passing out from slow heartbeat.

I wish I could say the same for the house.  When he fell, he put two spectacular dents in the wall, but fortunately none of the dozen pictures on that wall came down, otherwise we would have had a near-death body covered in shards of glass.

Then two nights later as I was just home from a long day at the hospital, I turned the corner into our front hallway and realized something was wrong.  What was it?  I realized it was the beautiful wall-to-wall, floor-to-ceiling mirror at the far end.  Instead of being vertical, it was tilted, and my reflection looked like it was going downhill.  

Turns out the mirror had detached itself from the wall and fallen forward for six inches, until it encountered the molding around the front door.  

When my handy sons inspected the scene of the crime the next day, they realized that the mirror had been "secured" only by two little clips at the bottom edge, nothing at the top edge (where there is a half-inch clearance, not a lot but enough to have installed some other kind of fastener).  

Had it been glued to the wall and just this week decided to let loose?  Had my husband stumbled against it on his way to collapsing in the dining room?  Had the EMTs stumbled against it while humping his limp body out the front door?  There were no handprints or smudges anywhere on the mirror, so probably it did its thing without human intervention.   Had it been a disaster waiting to happen ever since the house was built in 1963?

One of the handy sons brought over an industrial-strength tension rod -- think spring-loaded curtain rod, but tightened with a lever handle.  Suitable for jacking up sagging roofs and punching holes in concrete.  He pushed the mirror back against the wall, padded the bulging places on the tension rod with a pool noodle and installed it in front of the mirror.  Now we are safe, I hope, till we can get a guy in to fix the holes in the wall and affix the mirror more securely this time.

Never a dull moment.  By the way, the patient is doing well, although it's going to take a while.

This year's daily art

In November I usually start thinking about daily art, and what I'm going to choose for my project in the coming year.  I had pretty much narrowed it down to some kind of collage, whether paper or fabric, but didn't have any details in mind.  Then when I went to the December retreat from my fiber art group, I was delighted to find that Santa Claus also came.

Santa aka Joanne Weis, who has been one of my closest art pals for more than two decades.  She has experimented with every conceivable method of surface design (dyeing, screenprinting, laminating,  painting, etc.) and every conceivable fiber (silk, hemp, linen, cotton, nylon, etc.).  She always does considerable testing to develop a palette before embarking on a new project, and often prepares a lot more fabric than she actually uses.  And for years, she stashed her unused fabrics in drawers.

Then last year she decided she needed the drawers, stuffed all the fabrics into big bags, and brought them to the retreat. 

I let others in the group go through the bags for more than an hour, cherry-picking pieces that called out to them, and when everybody else had enough, I packed up everything that was left.

Two huge bags worth.  And realized that clearly Santa wanted me to do fabric collage as my 2023 daily art.

I have defined the project as follows:  All fabric must come from Joanne's leftovers.  I can add hand- or machine-stitching of any kind, plus notions like beads, buttons or found objects.  Most days I will finish a collage, but occasionally I can hold it over to another day (or two) as long as it's documented at the end of each day.

This one took several days to finish (Day 1 here)

I haven't felt this exhilarated in a long time.  I find myself getting up in the morning and thinking about what I will do in the studio, and the daily stitching is usually the first thing I tackle when I get there.  (By contrast, toward the end of the year, my daily painting got to be a chore, done after dinner with the same enthusiasm as kids have for the last bit of homework before bed.)  Often I spend some time preparing fabrics for future days, cutting them into small pieces, maybe putting the pieces through the wash to fray the edges, maybe auditioning possible combinations. 

I haven't posted any of the collages on my daily art blog yet, but that's on my to-do list.  Meanwhile, here are a few of my favorites.  Obviously I'll be telling you a lot more about this project as the year goes on.