Connections

My mother would never have described herself as a quilter--or a textile artist, for that matter, but she did make a yo-yo quilt that she began in the early 1940s. As I was packing and cleaning today, I came upon her quilt and decided it was a good day to air it and then refold it.

Happy Mother's Day!

Metamorphosis

Among the packing for our move, the cleaning for possible buyers, and the decision making, I have made time for fabric--and the proof is in the local challenge piece I finished--well, the facing is not sewn down yet, but you won't notice that. The theme this time was "creatures," and I finally settled on one of my favorite subjects--butterflies.  But, for a long time, a subcategory of butterflies has fascinated me: caterpillars. I have always loved the little surprise of finding a brightly colored and intriguingly patterned little critter crawling up a stem or leaf and, while some are clearly pests and wear out their welcome very fast, it is worth sharing some parsley, dill, tomato or milkweed leaves with others. So I have been photographing them for a while and wondering how I could abstract them into a quilt.

When the challenge came up, I decided that this was the time to give it a first try. I had also been wanting to revisit using photos in a quilt. I decided on a Black Swallowtail Caterpillar, described as "charismatic" by one photographer, here shown chomping away on my dill.

For the background, I took several photos of some parsley, another favorite of this little guy. In manipulating these in Photoshop, I liked what happened when I applied "Colored Pencil" to the original, but the idea of movement, change, narration in the piece began to grow in my mind's eye so I decided to combine the original with the manipulated version and then place references to the caterpillar between panels of parsley. I printed the photos on EQ Printables Cotton Satin, took a deep breath and began to cut. And here is what I came up with:

I was going to create the yellow dots with a resist but one try convinced me that this was not the time to work on discovering how to get a pure solid black so I opted for commercial black with the yellow octagons fused on.

For obvious reasons, I named this "Metamorphosis"--a big name for a piece that measures only 9 x 14 inches. But it also honors the transition I am going through.  Time will only tell whether I turn out to be a butterfly or a beetle but whatever the outcome it certainly is an adventure.

And if you are still with me, thanks for the company!

I am linking this post with Nina-Marie's blog.

Beginnings

My husband and I are now the very happy owners of a house in Massachusetts and I have been spending too much of my day throwing away half burnt candles and broken flower pots, donating books to the library that I am finally admitting I will never read again, and resigning that cheese tray that I used once in 42 years to the garage sale pile. There has not been half enough working with fabric and thread going on around here.

But I have been doing some, thanks to some big projects I have been working on and to a dear friend, who caught the fabric dyeing bug from me a while ago. In January we made a pact to get together at least every other week and try some form of fabric manipulation/transformation. And I finally suggested we should try glue resist, a technique I had decided was fairly useless to me in a class I took with Jane Dunnewold a couple of years ago. It just didn't seem to do much resisting against dye or paint.  But this time I took my time, carefully cut out stencils with what turned out to be a dull X-acto knife (no wonder I had so much difficulty), applied Elmer's Washable (it's gotta be washable) School Glue with a kind of squeegee process and got some results good enough to keep me interested. I painted the first round with dye paste:

For the second I decided to do an immersion dye process, even though the "books" cautioned that glue, being water soluble, was not a good candidate for immersion dyeing. But images appeared as I rinsed the fabric and I like this one much better:

And so I continued on with just some doodles, directly applying the glue with no stencil guide, that I painted over with dye paste, with a bit more seriousness this time, since I had begun to believe in glue resist. Now I know I can do more complicated designs with this glue stuff.

Then I tried a double dyeing process that began with applying thin lines of glue to white fabric and immersing it in a yellow dye, followed by more lines of glue and immersion in a blue dye. If you look closely, you can see these intriguing, ghostly blue lines that hover in the background:

Finally I tried to a bit more organized composition, which combined stencils and brushed on glue, which is obviously begging for more layers of something:

At the end of her week of classes, Jane divided the leftover supplies among those attending the classes, using a lottery system. I went home with a large bottle of Elmer's glue and a couple of other things and tried very hard not to covet the beautiful paints other students were lucky enough to win. Now I thank Jane for the glue. I finished that bottle and am working on my second.

And if you are still with me, thanks for the company. If you have a bit more time, hop over to Nina-Marie's blog to check out what some other bloggers have been working on this week.

Seeing

Why do you, we, I make art is a question that comes up now and again when artists get together over a cup of tea or over the Internet--and sometimes when an artist is by herself and having a bad day. The other day as I sat stitching at the window I was reminded forcefully of one of the things creating art has done for me--it has taught me how to see, observe, be aware, wake up.

I looked out the window and smiled to see all the red-winged blackbirds below the bird feeder (our official sign of spring here in northcentral Pennsylvania) and then realized there were more grackles than blackbirds in this flock of almost thirty birds. Grackles are truly birds of many colors, as I discovered when I made a quilt last year based on a dead grackle I found in the yard after a windstorm and thus had the opportunity to see all the purples, blues, greens, reds, even yellows that the feathers of this seemingly black bird contain.

I looked for all those colors on these living, moving birds and was seeing glints of purple changing to blue when the sun came fully out from behind a cloud and what a show! Colors changed and danced from one bird to the next as they pecked and turned and bobbed and as the sun and clouds changed the light.

This day came in the middle of a chaotic week--and all that was forgotten for a few glorious minutes. Later in the day I took this picture of part of a group but a photo can't capture the myriad colors or changing sunlight.

And if you are still with me, thanks for the company!

It's All About--Me!

Last December it was my turn to suggest a theme for the local challenge group that I belong to and I finally decided on a letter or letters of the alphabet used as some kind of design element. I had what I thought was a good idea at that point but by the time the holidays were over and I actually sat down to do some sketching, something entirely different leaped into my mind. I had been having some discussions with friends and with myself about identity and egos and so I started playing with a "Me" concept and here is what finally came together:

Once I had gotten the idea I had to come up with a way to translate it into fabric before the March deadline, and after rejecting fusing and hand applique, I decided to start with the E's and see if I could piece them.  When they seemed to work, I set about putting the top section together. And then, in case you missed it, there's the tiny addition:

I, of course, had to call it "It's All About Me."

And if you're still with ME, thanks for the company!

Transformation

The word for our Art 1016 challenge this time was "Transformation," a word that, as the member who chose it pointed out, can be applied to just about any quilt since we are all taking fabric and thread and whatever else strikes our fancy and transforming it into a whole quite different from the sum of its parts. But even with that wide interpretation I almost didn't work on this challenge due to all the other transforming that's taking place in my life.

But, as I begin my goodbyes to this place that I love, I keep being reminded of times and scenes that I want to hold onto--like walking in the fields with Terra on a late autumn day and suddenly I am aware of snowflakes falling, just a very few drifting silently down. And there was the idea for a quilt--the very beginning of a transformation.

This is a small piece--the rules for our challenge group state that the quilt should be no larger that 10 x 16" (although we have begun to relax our rules somewhat) and so I was originally going to make the quilt 10 inches wide but split that 10 inches into three panels:

This layout was bothering me, however, probably because the middle panel needed to be more obviously the focus and the three pieces seemed less unified than they could be. So I finally happened upon the idea of putting that center panel on top of the other two as it appears in the first photo. Do you think the change made a difference?

 There are also very quiet snowflakes on that panel that may not show up so well on your screens:

And now that you've seen what I've done this week, you might to check out Off the Wall Friday at Nina-Marie's blog to see what others have been creating.

The Colors of Snow

After a couple of wimpy winters, we are back to the real thing--with a reasonable amount of snow and enough cold temperatures to keep it around for at least a bit.  I wasn't going to bore you with my snow dyeing adventures this year. My first round from a deep snow a couple of weeks ago yielded the usual results:

And then we had three or four inches last week and I almost didn't even try because the snow was very light and dry.  The first one I ironed was very nice but fairly monochromatic and I should have learned by now that I need contrast to get the best effects-and the blue I dripped by mistake on the bottom right side wasn't enough contrast:

The blue mixed with black was more exciting:

and then there was the jewel!

This has lots of the chrystally, petally texture that I associate with the most successful snow dyes and the colors are magical.  Unlike my usual technique, which involves pouring already mixed dye concentrate on the snow, this time I sprinkled dye powder on the snow.  Now there are problems with this because the  dangerous time when working with dyes is when they are in powder form--and sprinkling powder on the snow does tend to get more powder in the air than I like.  I may try using the two colors--sapphire blue and plum--in concentrate form and see if it is the colors and not the technique that produced these results.  Of course, the quality of the snow is another variable and that I will not be able to reproduce.