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