Besides the Knoxville FreeStyle EGA group, I am a member of the Atlanta EGA group, Stitching With A Twist. This group is working on a project that will require our developing zen tangles that we stitch-- "tangling," it is called. My problem is that I can't draw a tangle and then stitch it. I think in reverse. To me, it is easier to think of stitches that will work in a zen tangle and then draw the tangle based on those stitches rather than the other way around.
This is the beginning of my little sampler of possible tangling stitches (somehow, calling a stitch a "tangling stitch" sends the wrong message). It is stitched mostly in a single strand of cotton floss, and, at lower center, with some DMC matt cotton the weight of a wool tapestry yarn:
There as many stitches on the "won't work" Doodle Cloth as this Sample! A nice occupation for a snowy February day.
Tuesday, February 24, 2015
Monday, February 23, 2015
Fine-Thread Stitching with Beads and Ultrasuede
Recently I needed to go through things to loan pieces for a small exhibition of work for a new FreeStyle group just taking root in Knoxville. When the box was returned, I found some small pieces to share.
These two 6" x 6" pieces were both done in the fall. The first, with the green background, was an exercise in tiny stitching and texture. Sometimes neat, tiny stitches do not have much textural interest. There are beads and Ultrasuede to help the textural considerations along. Most stitching is a single strand of floss, with some sewing machine cotton. I used Beading needles on both pieces.
Below is a design worked from a mark-making session with the FreeStylers. We experimented with different tools for making marks on paper with a water-based printer's ink, then chose a section of our mark-making to translate into a stitched design. There is charcoal, medium and light grey thread used for the stitching, along with Ultrasuede, Bugle Beads and antique glass buttons.
Both pieces were labors of love. We had been stitching for months with heavy yarns, and this lighter -weight stitch was a break in texture.
These two 6" x 6" pieces were both done in the fall. The first, with the green background, was an exercise in tiny stitching and texture. Sometimes neat, tiny stitches do not have much textural interest. There are beads and Ultrasuede to help the textural considerations along. Most stitching is a single strand of floss, with some sewing machine cotton. I used Beading needles on both pieces.
Both pieces were labors of love. We had been stitching for months with heavy yarns, and this lighter -weight stitch was a break in texture.
Sunday, February 15, 2015
Waiting for the Spring to Come
We will make a trip to the beach with my sister, son and daughter-in-law and The Adorables. This is always a magical time for us. Until then, I have this picture, a snapshot in cloth, to remind me of how much I will enjoy the change of scenery and softer air.
Surrounded by the tidewater river, there is a lighthouse between the mainland and the islands that can only be glimpsed briefly from the road, but that glimpse is very worth the waiting. I have set the old lighthouse in moonlight and taken all sorts of artistic liberties with color and shape.
Hurry, Spring!
Surrounded by the tidewater river, there is a lighthouse between the mainland and the islands that can only be glimpsed briefly from the road, but that glimpse is very worth the waiting. I have set the old lighthouse in moonlight and taken all sorts of artistic liberties with color and shape.
Hurry, Spring!
Wednesday, February 4, 2015
February Is Rolling Along
Since Thanksgiving I have been cleaning out and sorting in the studio. This is meant to be a thoughtful clean-out, where I open boxes or drawers and handle things (some I haven't seen for years!) and make decisions about how this may or may not fit in my future studio plans. Things that are lovely and useful, though not what I am interested in (or need) anymore, I put aside for the Etsy Shop. Unfortunately, what is happening is that as I pull things out they start talking to me, and the sorting stops while I sit and work with them. I have several small pieces that have come from this clean-out!
This is the curse of the tactile person.
Things that are too heavy to ship out, I am offering to my grandchildren's art teacher (whom they really love). Things too esoteric for elementary schoolers are for my FreeStyle group next week. But, this is such a small amount of stuff!
I decided I would use my sketchbook and work on putting ideas there instead of stopping all progress by beginning projects. Well, that was a bit of tom foolery-- I simply made more fuel to fan the flames, filling page after page, starting a new book, working out the details of a stitchery and then sweeping out a spot on the work table and-- yes: starting a new little project.
Yesterday I sorted a foot-high stack of fabrics I had painted, dyed, discharged, printed. Some are colored from several processes . . . and some are small pieces left-over from other projects. Of course, I set right to work with a little stack I had pulled out for myself. There was a small Etsy pile (not nearly large enough), and I am going straight out there this morning and go through that stack again with the shop in mind.
This is where I need people. My people would take me firmly in hand and say, "We'll handle this for you. Go inside and have some tea. We'll show you the results in an hour."
People--- where are you?????
This is the curse of the tactile person.
Things that are too heavy to ship out, I am offering to my grandchildren's art teacher (whom they really love). Things too esoteric for elementary schoolers are for my FreeStyle group next week. But, this is such a small amount of stuff!
I decided I would use my sketchbook and work on putting ideas there instead of stopping all progress by beginning projects. Well, that was a bit of tom foolery-- I simply made more fuel to fan the flames, filling page after page, starting a new book, working out the details of a stitchery and then sweeping out a spot on the work table and-- yes: starting a new little project.
Yesterday I sorted a foot-high stack of fabrics I had painted, dyed, discharged, printed. Some are colored from several processes . . . and some are small pieces left-over from other projects. Of course, I set right to work with a little stack I had pulled out for myself. There was a small Etsy pile (not nearly large enough), and I am going straight out there this morning and go through that stack again with the shop in mind.
This is where I need people. My people would take me firmly in hand and say, "We'll handle this for you. Go inside and have some tea. We'll show you the results in an hour."
People--- where are you?????
Sunday, February 1, 2015
January Musings: Stitches and Poems
The New Year is always a time of looking-- looking back over the shoulder, looking forward into the unknown. I do not make resolutions anymore, but I try to take up projects or ideas in small doses, giving attention to one thing at a time. Well, maybe two things. Never those long, impractical lists that are more wistful thinking than reasonable expectation.
One thing I have decided to explore this year is mark-making in all its aspects. We did a bit of this in FreeStyle last year, and I discovered how peaceful it is to take up some improvised tool and dip it into ink or paint and see what mark it will make on a piece of paper or fabric. The marks stretch into a rhythm that slows down my day, as if I am marking out a pool of quiet around me, a place to work and uncover ideas. And in the quiet, the ideas simply pour out.
After the mark-making, the needle and thread come out. If I were mute, I could explain myself to the world with that ancient medium, but the world would have to slow down to "hear" my answer. Slowing down, of course, is the key.
In the Ways To Slow Myself Down, I add this story: I fell onto the patio, via a metal chair, in early January. Since that time, everything in my little world has slowed, sometimes to a grinding halt. Stitches were put in and taken out (of me, for goodness' sake!), more doctors, the re-defining what is important . . . I am so grateful for stitches that held me together while my head healed. Grateful, also, for the stitches that kept my hands busy between the first accident in November until now. From that time of slowing down, I have this piece, which is a sort of poem to the winter.
Poems are ways of slowing down-- reading meaning in the spaces between words is not so different from finding meaning in the little spaces between stitches. Both words and stitches can be layered, thick with meaning. They can be frivolous or deeply serious. Terse or chatty. Fluid or choppy. What perfect complements they make!
Sunday, December 28, 2014
Ethan's felted piece!
I could not publish this picture before Christmas because Ethan made this as a gift for his parents, but I can share this now. Ethan finished his first machine felted landscape last month. He was six years old. He had asked repeatedly, always very politely, to be taught how to use "that machine" (always accompanied by a nod in the direction of the Embellisher), and finally, in October I listened to him explain his plan for how he would learn. He had worked out a formula for learning! The lovely part of working with Ethan is that he never forgets anything. I think of his animal symbol as the elephant. He is shown something once, and that becomes The Way.
We began to talk about felt tops and how the fibers interlock, how a felting needle is different from a sewing needle, then decided on a six inch square for our layout. I cut out a piece of dyed scrim for him and as he began reaching for his favorite colors I was reminded of James Taylor singing, "Deep greens and blues are the colors I choose." After making his choices of color and placement, I sat beside him, heart in throat, as he began to apply pressure to the foot pedal and use those small fingers to move through the felting process. He had watched me do this for several years, and I suppose, with that incredible memory of his, he had been storing up information for this moment. In all the time we spent on this, he did not break a needle-- which is a much better track record than my own!
Next, to add little chopped bits of wool thread for grass, some shaping of the tree and ponds, and after that the stitches. Not any blue would do on the pond-- it had to be shiny silk, "to reflect the light," he explained very patiently. He chose sari silk metallic thread and bright green crewel wool for the tree foliage, with little bits of the green blowing across the soft wool base.
We worked on this in stages for several weeks. On the days he stayed with us after school, he would have his snack, do his homework and then we would come to the studio until Julie came to pick them up. He was very concerned that she not see it, and she so kindly complied with his wishes.
The most heart-melting moment was not to see the little piece finished, however, but to hear him say, "I can't believe I'm really making this piece, Grandma!" The sad part came when I suggested he take it to share with his class when he was finished, but he quickly said no. His mother told me, later, that he was afraid of the other boys making fun of him. How can it be that a first grader can be bullied by his "friends" for his talent and perseverance?
This piece reveals a creative, imaginative side to Ethan that is very unlike the methodical, mathematics-oriented thinking he usually exhibits. He helps Bethy with her third-grade multiplication tables and adds and subtracts faster than she, and he enjoys working out people's ages from the year they were born. So glad he and I had these hours together to make this discovery. Our next felting may be to incorporate wet felting into the process . . . Updates as this happens.
Sunday, December 7, 2014
Etsy Store
How this came about: On the Friday after Thanksgiving as I was walking down the hall to the bedrooms, my foot made a terrible and very loud popping noise. The doctor said it was "probably" a stress fracture, but we wouldn't know until the 22nd when he re-X-rays the mess that is my foot. In the meantime, my new best friend is The Big Black Boot, knee-high and serious business.
BFF and I have been sitting still a lot since then, and it finally occurred to me that I've been meaning to open an Etsy Store for years, and now might just be the time. Today, when I put some thread in the store, I believe I became an Etsy shop keeper and am up and running.
The thread, which is cotton cone thread that weavers use for making soft wearables and household items, became my go-to thread for texture a number of years ago. It is soft with a small amount of texture to it, and a perfect size for beefing up lines or mixing with other threads in textural work. I looked at my yarn cabinet one day and realized I could never never in this lifetime use it all up, so I am winding it into 30 yard skeins and seeing if other stitchers like it as much as I.
There are also boxes of stitched work that will gradually move onto the shop walls, but that takes time and a certain amount of mobility to gather all the parts in one place to mount the pieces. Later.
In the meantime, check out Studio508 on Etsy, if you are shopping there. The Studio508 shop will probably change a good bit as I move things around in the studio here in Woodstock. For right now, though, studio changes will have to wait on healing. I have a good bit of hand-painted fabric that might be nice in the studio, though . . . Hurry up, foot! We've got work to do!
*****UPDATE***** It is, indeed, a fractured heel, and I have been given stern instructions about staying off the foot. This is the time to practice deep breathing, mindfulness, and to work in my sketchbook(s), a time of ingathering for later work.
Best wishes for the Holidays, be well, and to all my fiber friends, happy stitching!
BFF and I have been sitting still a lot since then, and it finally occurred to me that I've been meaning to open an Etsy Store for years, and now might just be the time. Today, when I put some thread in the store, I believe I became an Etsy shop keeper and am up and running.
The thread, which is cotton cone thread that weavers use for making soft wearables and household items, became my go-to thread for texture a number of years ago. It is soft with a small amount of texture to it, and a perfect size for beefing up lines or mixing with other threads in textural work. I looked at my yarn cabinet one day and realized I could never never in this lifetime use it all up, so I am winding it into 30 yard skeins and seeing if other stitchers like it as much as I.
There are also boxes of stitched work that will gradually move onto the shop walls, but that takes time and a certain amount of mobility to gather all the parts in one place to mount the pieces. Later.
In the meantime, check out Studio508 on Etsy, if you are shopping there. The Studio508 shop will probably change a good bit as I move things around in the studio here in Woodstock. For right now, though, studio changes will have to wait on healing. I have a good bit of hand-painted fabric that might be nice in the studio, though . . . Hurry up, foot! We've got work to do!
*****UPDATE***** It is, indeed, a fractured heel, and I have been given stern instructions about staying off the foot. This is the time to practice deep breathing, mindfulness, and to work in my sketchbook(s), a time of ingathering for later work.
Best wishes for the Holidays, be well, and to all my fiber friends, happy stitching!
Monday, September 29, 2014
Reclaimed Silk Sari Ribbon
Reclaimed materials are always interesting to work with. Silk Sari Ribbon is on the top of my list of these re-usables. The strips are sometimes too wide to stitch with "as is," but most silks tear/rip very easily, and I can make several narrow strips of silk for stitching from a single length of the ribbon that comes in skeins for knit and crochet.
This example above is from a sample for a study of mosses that is part of a larger project (more to come on this over the next year, I hope). Here you can see the grey and yellow silk ribbons couched in place, then surrounded by loopy, textured stitches in a variety of fibers. Is it apparent that I am not too fussed by the restrictions of realistic color?
This next piece has been stitched on a ground of hand-made felt to make an impression of wind sweeping through the branches of a potted plant. The heavier leaves are stitched with torn strips of ribbon, with mixed wool and silk threads used break up the blue with some scattered, less-solid leaf images.
Silk, wool, and a little cotton scrim for good measure . . . It takes so little to pacify some folks!
This example above is from a sample for a study of mosses that is part of a larger project (more to come on this over the next year, I hope). Here you can see the grey and yellow silk ribbons couched in place, then surrounded by loopy, textured stitches in a variety of fibers. Is it apparent that I am not too fussed by the restrictions of realistic color?
This next piece has been stitched on a ground of hand-made felt to make an impression of wind sweeping through the branches of a potted plant. The heavier leaves are stitched with torn strips of ribbon, with mixed wool and silk threads used break up the blue with some scattered, less-solid leaf images.
Silk, wool, and a little cotton scrim for good measure . . . It takes so little to pacify some folks!
Saturday, September 6, 2014
Moss On Tree
This 6" square is my interpretation of moss growing on a tree, at v-e-r-y close range. Stitched mostly in Walsh silk/wool yarn on a piece of hand-felted wool from dyed roving and scrim, it is layers of wool, silk, linen, and cotton, with tiny beads tucked in between the seeding stitches.
Tuesday, September 2, 2014
Water's Edge
This watercolor on canvas is combined with machine and hand stitch, appliqué, beads, stones, and a variety of very textured yarn. It is a look at the little bit of marsh and sea we enjoy in a family trip to the coast of Georgia every spring.
The views of the canvas from the side are interesting, too. The trip starts at the edge of the wall and turns the corner to the front of the canvas . . .
then continues on the right side-- as if the water's edge was too lovely to leave:
Friday, July 25, 2014
Blue Bulb
"Blue Bulb" is a layered work with a great deal of texture in the hand-painted scrim, the scattered seed stitches, and the little roots that dangle just off the bottom of the canvas.
Monday, May 19, 2014
Update on Three Red Trees
At the prodding of my friend, Peggy, I submitted this piece to the EGA for consideration in their upcoming "Spectacular Color" Exhibit. And, guess what-- they accepted it!
I'm still wowed by that. There were entrants from EGA affiliates in four different countries, so there must have been a lot of vibrant pieces sent to New Mexico for adjudication. Twenty-five were chosen for the show opening August 1 of this year and running until the end of January of next year.
Wow!
I'm still wowed by that. There were entrants from EGA affiliates in four different countries, so there must have been a lot of vibrant pieces sent to New Mexico for adjudication. Twenty-five were chosen for the show opening August 1 of this year and running until the end of January of next year.
Wow!
Saturday, May 3, 2014
May 2014
Container Gardening this year: Vegetables.
Why? Just to see what it's like to grow and eat my dinner.
Will I miss the flowers I usually grow here? Yes.
Regrets? Not yet.
Why? Just to see what it's like to grow and eat my dinner.
Will I miss the flowers I usually grow here? Yes.
Regrets? Not yet.
Friday, April 4, 2014
Mystery of the cloth, No. 1
Tuesday, April 1, 2014
Winter Tree
We recently had a very rough winter here. There are some who live further north who would shake their head and say, “If you think YOU had a rough winter . . .” But, it’s all relative. I sat stitching this as the brown and grey of winter gradually gave way to washes of white from the the blast of snow and ice. The wind rattled up the hill as I reached for another lap rug and the ball of silk to re-thread and stitch on.
The fabric ground is a simple sandwich of scrim and wool, over which I have used only the humble straight stitch. Threads were cottons, mostly flosses, but for the tree I used a three-strand, slightly nubby silk from my friend, Jill, and together the silk and I followed the tree’s plight through the wind and weather. It made a gentle fabric with a draping hand.
The finished size is about 7 1/2 x 11 inches.
Sunday, March 30, 2014
Conversation by brook
My favorite ground for stitching is made of layers of soft fabric. To this end I save scraps of every fabric that comes into the studio, no matter the color or fiber content. Pale pieces can be painted or tinted, frayed or re-woven, and silk or organza act as slight masking agents to push too-forward colors back a notch. I don’t remember ever meeting a natural-fiber fabric I couldn’t warm up to.
So when I began building the layers of fabric that eventually became this piece, I was looking for texture and shape more than color. I used fabric paints and dyes to get the colors I needed. After hand basting the small pieces and machine stitching the edges, the surface stitching was done in silks of floss and perle.
The conversation is an interrupted one, just as the work was not accomplished in a straight line. Here, Art Imitates Life.
Friday, March 28, 2014
Three red trees
At the outset I must confess: I do not like orange.
This landscape is built on a piece of nuno felt that has been stitched, unstitched, had portions of needle felted velvet unceremoniously ripped away, cut into two pieces and re-felted . . . All in an effort to make friends with the color orange. The green was a diversion, a way of using, by way of yellow, the complimentary blue of orange and the green of red to soften and tame the orange, with stitches in soft, chubby matte cottons and variegated silk flosses. The two green trees stand by in wonder, gossiping about the entire process. They refuse to acknowledge their own painted silk cocoon origins.
To be further confessional: Orange and I may no longer be enemies, but we are not exactly sitting down to tea and biscuits together. Yet.
The final size is approximately 7” x 8”, and the framing is a bit of a puzzle. I will keep this pinned to a board in the studio until lightning strikes with a grand idea. Or, maybe I’ll ask Jordan to choose the framing for me!
Blue Meadow
The cottage commands a sweeping view of hand-tinted vintage lace, bead and button flowers, and a curious blue and yellow-green river flowing beneath all. A blue orchard bearing vintage silver Japanese seed beads shares the horizon with the red-roof cottage I have always imagined to be the home of my Irish great-grandfather. This little story and its bright colors are set in a 6 1/2” rusticated wooden tray. I don’t know how I could manage the stresses of life without my drawers of vintage laces and trims, so using them in this little piece was therapeutic.
March 28, 2014
I can either follow my creative interests in a happy, messy sort of
way, or I can bring everything to a halt and write about it. I don’t seem to do
both simultaneously either well or even happily. My son FB’d today that I should keep my
blog up to date.
O.K., Jordan, this re-start is for you!
Love, Mom
P.S. Happy Birthday!
O.K., Jordan, this re-start is for you!
Love, Mom
P.S. Happy Birthday!
Sunday, September 8, 2013
Almost back in the saddle
What a spring and summer I’ve had! Everything came to a halt in May with
hip replacement surgery, rehab, and a desperate effort to avoid a knee
replacement. The walking progression has been from walker to four-prong
cane to normal-everyday cane, and an occasional short distance walk
without the cane, something I rue almost immediately, but keep working on to be independent again.
However, the distance to the studio, which is my measure of success, is down from thirty-two steps to twenty-eight on a good day. Once there, I can work a bit.
While not exactly back in the saddle, I am getting there. I’ve examined my body to see how many more joint replacement possibilities exist. Too many, by last count!
However, the distance to the studio, which is my measure of success, is down from thirty-two steps to twenty-eight on a good day. Once there, I can work a bit.
While not exactly back in the saddle, I am getting there. I’ve examined my body to see how many more joint replacement possibilities exist. Too many, by last count!
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