Seamless Skin

...And Still I Rise

Update

How good it feels to write a new blog post!!!!  How good it feels that Spring is here!!!!  

Louisville is #3 in the nation for the worse pollen count.  It wrecked a little bit of havoc on my lungs in spite of the emotional uplift the warmer temps gave me.  I just kept yo-yoing with chest crud until I had a brief 4 day stay in the hospital.  In between feeling good/feeling bad I kept plugging along on the boats...

Happy to report the hand embroidery is done and it is ready for quilting...but here is my plan...to continue on to the next quilt(s) and then sometime in mid summer go hog wild, (bat crazy, mad cow) with quilting all the tops.  This year's goal is all about production (don't get too excited...I work slow even when I'm fast).  My goal was to have the "boats" completed by the end of Feb. and it didn't happen until mid-March.  

You may recall me mentioning that my sewing construction studio is in storage due to my mother moving into senior housing.  For months I considered renting a 2nd Mellwood studio to set it up once the storage contract ends.  I turned over the idea of sharing a 2nd space, subleasing, etc.  It was my anxiety talking over not having my design board, fabrics, sewing desk that holds my main machine, etc. accessible.  I spent the first part of this week clearing the studio to make room for at least my sewing desk and to begin the next quilt with the attitude of "making do equals can do". Peter and Ade will haul through the storage unit and pull it out and deliver it this weekend.

Yesterday I actually sat down to begin the preliminary studies for the next piece.  Two of the three studies I finished...one is a thread sketch, this one using tsukineko inks.

The next one will be raw edge applique.  While doing them, the question in the back of my mind is "how can I make the imagery more abstract and still capture the event?".  It  will be a Kentucky Derby quilt.

Blog Love

I don't remember how I stumbled into Karen Walrond's blog and website, Chookooloonks.  I think maybe her book, The Beauty of Different, kept coming up on Amazon's recommendations.  She offers an on-line magazine workshop that offers gratitude prompts with photography prompts called Gratitude 2012.  Karen is an award winning, jet setting photography whose blog exudes kindness, humor, and beauty.  I enrolled in the workshop yesterday.  It is 5 dollars a month and 40% of the fee she donates to Kiva.  

Also, yesterday I discovered the website (thanks to Pinterest) and blog of fiber artist Diane Melms.  I've always wanted to improve my photo-documentation by showing the process involved in completing a piece from start to finish.  I think I'm too wordy to be as succinct as Diane or as succinct and poignant as blogger Judy Martin, another blogger I enjoy reading.  

Wrap-up

Time for a change.  I've been with Typepad now since I first began blogging back in '04.  This is a fee based blog and I'm at the lowest level.  In order for me to customize I would have to jump up to the next fee level and that ain't happening.  Blogspot offers customization and it is free.  My hold-up is anticipating the learning curve (the headache) of moving content.  This will be a goal for April.

Tonight is F.A.T. Trolley Hop.  I will not be having Open Studios but will be around with Carter, my 3 y.o. grandson and Anaya my 2 y.o. granddaughter for a few hours (at least this is the plan) visiting the other studios and galleries at Mellwood.  

 

Checking in

November will be the last month of regular and weekly time in the studio...from December till March/April will be hit and miss.  About 1-2 days a week, maybe 3 some weeks.  Hibernation is my vibe til Spring.  I don't like it but it is a reality of the season that I have to contend with.

Around noon today, my brain finally kicked in and I was able to paint these 5"x7" canvases and mount the last of the Urban Egression postcards.  The exhibit at Iroquois branch library will not go up until after 5 tomorrow.  These will be included.

 

 

Meeting deadlines

okay, I have at least 3 coming up...one in October, one in November, and one in January.  I'm infamous for missing them because I can't work as fast as my head finishes a piece and secondly, because I don't hold to a strong dictate of what I'm going to do when in the studio.  Like last week, I had every intent of picking something back up when I arrived.  The world was feeling different for me the day after Davis' execution.   Also, I was in the middle of reading a enthralling travel book on a woman's journey to West Africa in search of Indigo and it's meaning, Indigo: In Search of the Color that Seduced the World by Catherine E. McKinley.   It was both of these I believe that came to bear on a change of plans.

Now what I had observed about myself that day was I was moving slower and quietly both physically and mentally. Shortly after I arrived at the studio a certain phrase came to me and held me spell bound and I chose to follow it in cloth and ended up starting a whole new piece, and thus far, I'm very pleased with it.  The size is large, for me, and I'm wondering if I can have it ready for one of the looming deadlines...maybe I should change deadline to lifeline...meeting it could mean a whole new life for a piece of art.  

This week I played around with video taping in the studio...I think I need one of those twisty style tripods.  So far my camera man (youngest son) hasn't been convinced of all the exciting things that I do while at Mellwood and hasn't jumped at the chance to film me.   I mean what 20 year man wouldn't want to party like this!?

 

 dye painted cloth wrapped in newspaper waiting to be steamed

What can I say...I'm just an elliptical kinda woman...

It all started yesterday...I was trying to get the idea out of my head onto a piece of cloth that I was trying to salvage and wondered what would happen if  I wrote with school glue directly on the fabric as the resist and then after it dried, spread a layer of jacquard discharge paste over it.  So today I scurry in to apply the jdp and this is what happened...

before

 after
Discharge paste doesn't discharge metallic fabric markers...a tidbit of info that means nothing at the moment but seems like it could come in handy down the line.

More layers are forthcoming, but I'll not try this again as the dp just bullied the glue and the glue dried overnight.  In the past I applied the glue directly to a silk screen AND for the time involved, because it takes a long while for the blue school glue to dry, (typically a day), I am better off using soy wax which dries immediately.  

And these...(ellipis are my favorite grammatical mark...signifying the long trains of fluid but focused for me thoughts that I edit out to keep readers from suffering through the dips and peaks in my mind.  I've considered trying to refrain from using them as they are in just about every post I write, but at this point, it feels more like my trademark).

are in the washing machine along with a few other pieces.  The one on the bottom is smaller than a fat quarter and I used my new favorite tool (toilet paper insert) as the stamp.  

Oh, oh...another conclusion I reached yesterday...for batching dye painted fabrics, I prefer steaming the fabric versus laying it out in the sun, has less loss of colour/dye.  I've been tracking this for the last 3 months.  BUT, the steaming creates a strong odor when it is immediately unwrapped and rinsed but dissipates very quickly under running water.  So I now put on a mask for gasses when rinsing out.

 

Low Technique Yields High Results

One of the suggestions Claire Benn gave us in May was to push the limits of one single tool...just commit to using one mark making tool everyday for a week in your studio.  A couple of weeks ago I did just this using a plastic card and did these...

But my new awesome favorite tool is this!

 click to enlarge.

The insert from toilet paper is a fantastic stamping tool.  I shape it into a pod, square, rectangle or odd shape  and just stamp with my medium of choice.  I must give a shout out to the fabulous Joanne Weis (toward the bottom on the post) for suggesting this in a LAFTA workshop she gave last year.

Anything is possible

with dye and fabric!  

 The joy of having the "best me" back can't not be expressed fully in words...words are just failing me, but I can tell you it occurs at the cellular level.  I had been holding in a lot of stress and what the week of being surrounded by creative people and being focused on my own thoughts around my art practice with guidance by Claire and Leslie coupled with being pampered by wonderful meals prepared by Margaret Wolff did for me was to allow that stress to dissipate right out of my body!

The goals I settled on were to obtain a specific palette that I want to work in for awhile.  I came close with this piece ...

 

I will go back into it but I don't want to lose the colors so I've selected an ecru dye that I think is unifying to the cools and warms.

My current short term goal is to completely saturate cloth with dye.  It seems the dyeing and repeated over-dyeing is the answer versus a heavy measure of dye powder with one use.  

 

These represent my other goal for the workshop which was to work with the same motifs.  Below are two more.

The intent for the cloth is to end up in quilts, but I must admit the confusion comes about when I just want to sit and hold the cloth or stare at it from across the room.  I haven't really constructed a quilt this year, so I question if I'm going for whole cloth, art cloth, or what???  If its whole cloth, I'm great at creating backgrounds but need to get better at focal points.  Art Cloth?  Maybe on occassion, but I really love stitch and layers.  The only stitching I'm doing is slow, slow hand work...if I charged by the hour on the piece it would be out of range for the ordinary art textile buyer. (is there such a thing?)

Primordial Womb in progress.

 

Stitching Woman Gonna Work It Out

I've been going back to older thought-it-was-completed work.  The crow was just a study though that Valerie White said I needed to complete when she saw it last year.  Can you see where I'm going with this?  I had no idea I would release the crow from the rectangle...it was impulsive on my part and while cutting I thought this was the seed from Penny Sisto that was beginning to bloom.  The crow doesn't work against this blue but I have a orangey-red silk that I think would work as a surrounding back ground.  I'm just not willing to sacrifice the silk if I don't have a clearer picture of what is happening with Mr. Crow and until I do it will sit yet again.  

 

This is 'Round Midnight.  I blogged about it over a year ago, but knew it needed something more.  I added the red circulars but failed to check value before stitcheing 3 of them.  It is the brighter section of the varigated thread that gives some contrast.  I think I have a solution but I'm going to stitch 2 more circulars before attempting to work it out.  

The motivation to go back into older pieces is coming from an upcoming display in the fall at a coffee shop and I want more coffee house friendly pieces...about 10-15.  

Learning Curves, Week 4

Learning Curves is getting back on track after Thanksgiving week.  I made it to class (class is how I'm referring to each book I'm working with in the Learning Curves) but not on the days designated.  Like today (Thursday, 12/02/10, the day of this writing) I'm working with all 3 books on digital art.  I have continued to reference Visual Language (Benn & Morgan) in creating lines and shapes.  The 2 images above are small cloth samples.  On the top one I cut out random shapes from book-cover plastic (similar to contact paper) and stuck it on the fabric to use as a resist and then dye painted over it. The image directly above is with the plastic removed and then dye painted in the white areas.  The cloth sample has been washed out and dried here.

The Image Transfer Class (McElroy) didn't go this week.  I did order the Transfer Artist Paper and its on its way and succumbed to a Lutradur purchase.  I have 3 weights of it and the extra light offers the highest appeal...I'm thinking it would pair well with silk organza in a statement on transparency or where transparency could impact the overall visual.

********

Jane Dunnewold will be here the end of January and will have a show at the Hite Gallery on University of Louisville's campus and is preparing new work for the show.  Here, on Jane's blog, you can see how she has written and defined the parameters for her forthcoming works. Here is Jane's schedule for her Louisville agenda. 

When I'm stuck on a piece, I pick up a journal and begin to ask questions and provide answers while actually sitting in front of the quilt/fabric.  When I first started doing this I was going to dedicate a journal by year, then by the series, then by location...but what I really do is just pick up whatever journal is close by, thus loosing continuity in writing about specific pieces and making it difficult to have the writing become reference material because my notes are spread throughout journals.  The one dedicated journal I have is a technique journal that I glue I glue samples into rather than how the designing of a quilt and the message of the quilt are related and what I did to get there. 

 I washed out the last of the fabrics I've been layering (images directly above).   Dunnewold limits the variables in order to self-impose focus and I'm going to join her in this journey for the next couple of weeks as I return to Crowbonics.  My next post will go into details.

 

Talking myself through the dark...

Yesterday I set up a test for the 3rd quilt for Crowbonics because the internal eyes and hands were working on it in spite of me wanting to do something else externally.  The 2nd-2nd quilt (second attempt on the second quilt) is not close to being finished but that didn't seem to matter to my internal eyes and hands.  Not having the energy to protest or object, this is what I started:

 torn papers layered under a sheer after medium applied but not yet dried

It is a small sample...about 10"x17".   I left it to dry yesterday and tomorrow I'll soak it in a bucket of water and scrap off the pieces of paper that didn't adher to the fabric.  The result will be a fractured image.  I applied more medium and more pressure on the faces.  I want less fracturing on the faces. If it works, I'll repeat with a larger sheer that will be a part of the actual quilt.

I also worked with redeeming a failed sheer lamination by cutting out the pieces I liked and then sewing them together.  I also wrote over the laminated sheer with a fabric marker as I'm thinking about what it would look like if the same images are repeated on all 3 visible layers: the paper, the sheer and the cotton fabric underneath.  I know, I know, I'm rattling on and talking to myself and not considering how tedious it is for a visitor to my blog to make sense of what I'm talking about...but a part of what I do here is like talking myself through the dark...

 

Unity in Schisms (what the what am I talking about now?!)

 The Beauty of Holiness Studio, my art making sanctuary

Odd, ... I cannot recall ever being this excited about Mondays when I was employed.  Sundays now are a signal to re-engage fully as possible with my creative mind.  Sundays are filled with thinking about the different pieces of cloth and quilts in their variuos stage of development and what needs to be stitched and the hows and wheres of it all. 

Last week I dye painted over previously painted cloth.  The cloth was not treated with soda ash and I used Afterfix on it which is used to set dye.  I've used this before and was fairly pleased with it...the colours appear to me more muted and toned down then with soda soaked fabric.  I keep returning to this method because I do anticipate, possibly, at some point I may not be able to physically handle low-water immersion dyeing.  This is the piece I'll rinse out tomorrow if all goes as planned:

 
Over the weekend I attended a state meeting of SDA members that Jennifer Reiss and Mary Nehring coordinate.  This was the 2nd meeting but my first.  My membership in SDA has lapsed but renewing it is on my goal list for the coming year.  Being around other artists and diverse minds gets me spinning like a whirling dervish and I left there thinking that its not so much the lack of opportunity that seems to describe this city/state (although the description can be dead on) it is the fact that I cannot attend to all the possibilities. 

In my own art I can say that I now have a focus, sense of purpose, and a vision...a "Karoda" way of working...but I'm also fertil that when I see the art of others my mind automatically begins to push, combine, play, stretch, mix, mingle, and so on, ideas and what ifs and I'm flying or whirling and it feels fun in the moment.  I've learned to reel myself back down...took me a couple of years but I'm good to go and can now say to myself "okay, Karen, settle yourself down".  I think many artists experience this and in turn are faced with juggling the solitude activities with communal activities and how both impact creativity. 

I also attended the tenants' meeting at Mellwood last week and Planet Janet and I will be coordinating demos and activities by the tenants who want to participate in November's Trolley Hop.  Studio spaces are getting new tenants and I hope this is some indication that economically people are feeling more daring and confident.  Many of the new tenants seem to be more retail/service oriented.  A fitness center, photographers, martial arts, florists, etc.  I hope this will not eventually increase the dirt cheap rents for the artists like myself who are solely using the space to create in, but overall, it is good to see fresh eager faces and more activity.

Speaking of solitude and communal, I figured out why I'm not partial to listening to music on an iPod.  I like my music to fill not just me but the space I inhabit.  I want the essence of the sound to rock the cobweb in the corner of the ceiling...I want the vocals to ooze down the walls...I want the rhythms to cover the floor.  This just doesn't happen using an iPod.  I can listen to podcasts on my iPod, no problem...but the music is too big to fully enjoy it that way...and I'm not talking about the volume of the music but the experience of it...listening on an iPod diminshes the experience of the music, the artistry that went into it.  Playing a cd is much more inviting for a shared experience and much more open experience.  I mean would you rather go to a museum or look at the art on a toy view finder?

Peace,

 

 

 

Altering Quilts and Awards

This quilt belongs to the poetry series but I wasn't happy with it when I completed it and over a year ago. I'm still not happy with it.  For one, I've ironed the heck out of the middle section at the bottom and that crease will not come out.  Two, the vertical seams are not straight and that bothers me for this piece. Third, the horizontal strips need to be narrower and the colours are slightly off for what I intended.  Maybe if they had been narrower they wouldn't distract me.  What I love about the piece is the fabrics I created  (with the circles and writing) and the colours of those. 

These are the thoughts I have: One, cut them into three individual pieces, (see below). Two, cut it into postcards; or, three, make my first journal covers or small purses.  Since I'm not attached to this piece I'm open for suggestions.  (There is prolly someway to add a poll feature, but I don't have the time to investigate).  Leave your ideas in the comments...and peace :)

Postscript:  The above post was a draft I wrote yesterday for posting today but since last evening, my fantastic news that was announced at the LAFTA meeting is my quilt, Urban Egression, won the LAFTA award in the Fine Arts division/Constructed Textiles category.  The jurying process was a blind one with 3 jurors from the organization.  I haven't attended a meeting in months so it felt like divine guidance for me to have the energy and inclination to attend.  I instantly had goosebumps from head to toe.  I have the image upon my FB photos, but I'm on a different computer right now and will upload the image later.  Again, Peace...and have a super fantastic weekend!

Chitlins', Art and Holiness

Yesterday I had to absolutely go into the studio...although I was there last Friday, it had been 3 whole days without being able to be there or in the basement workshop.  The longer I'm away, the more sullen and surly I become and then I am pressed to summon up energy in surpressing those feelings and behaviors in order to maintain some appearance of civility and sanity.  When ideas are calling me I see stitching, design, quilt possibilities EVERYWHERE...on buildings, dashboards, road construction, billboards, etc, and getting back into my space becomes a near obsessive CALLING.  After I left there yesterday to return back into the world, I felt like the best of me again and welcoming to interact with other human beings again. 

I worked on one of the studies I mentioned in a previous post.  A study that now has a specific vision.  A couple of years ago I was enamored with making silk paper.  Some time last year I started stiching on it just to see how it takes the needle and thread.  I've shown snippets of this particular piece before.  It keeps intriguing me but yesterday I knew the piece had found it's voice and I was listening.  This piece was talking to me..."order the stitches a little bit more Karen", "redo that line of stitches", "repeat the shape below", "take it down further"...and then from my own voice a phrase from one of my poems came to me while stitching and I knew it was the title of the piece...PRIMORDIAL WOMB.   When I picked this piece back up a few weeks ago I was working with the title of Amoeba and I thought the stitching would be a combination of hand and machine.  But yesterday Primordial Womb said all hand stitching and I chuckled at the idea of me doing "slow cloth".

While winding down I pondered what I was experiencing...a conversation, a dialogue, with something I was creating, something that many may view as an inanimate object.  From there I was led to how some cultures hold views that everything has spirit and everything is connected and when we, as artists, enter that realm and practice this belief, are we not entering Holy space?  Estella, my sisterfriend, wrote "poets mostly talk to God..."  I've read on blogs of visual artists and in conversations with artist-friends who speak of being in "the zone".  Personally, for myself, that zone is a communion with God and my time in the processes of creating art is an offering, an invitation for God to enter.  Even when I'm piddling (its a matter of showing up), even when things aren't working out (its an effort in maintaining belief), even when I'm doubting myself as an artist (its the questioning that leads to answers), even when my well seems dry and cracked (its the silence and space I need at that time for something fresh to enter). 

I was thinking of changing the name of my studio to "The Chitllin' Circuit" which I think is brilliant on lots of levels.  First, the space is housed in what use to be Mellwood Meat Packing, later Fischer's Meat Packing...the hogs where actually slaughtered there and the building is just a spit-throw's distance from the neighborhood known as Butchertown where historically, slaughter houses where located (they are all gone except for one).  When my children where younger and we would pull up behind a 18-wheeler of live cows (usually on Sunday evenings the trucks would begin lining up to unload) and the eyes of the cows could be seen peeking out from the holes, I would say to my children, you are looking at your hamburger.  I'm surprised not one of them are vegetarian but my point was to drive home the animal sacrifice that was made for them to enjoy their food.  I had a ceramics teacher in college who lived on a farm in Indiana and they raised the food they ate including meat.  He purposely wanted his children to participate in the slaughter of the animals so they would hold a deeper appreciation for what it took to get food to the table and not be ignorant to the facts.  Conceptually, this city girl thought that was kinda cool.

But I was talking about "The Chitllin' Circuit".   This was also the name that African American artists gave the route of venues mostly throughout the south that they could work in...months on end travelling from one spot to the next.  It was a difficult and hard way to make a living in the era of racial violence and segregation. As a cultural, historical, and geographical connection, I thought the name to be perfect.  But weighing my views on art and holiness, the current name will stay until a time, if ever, I can change it.

Grooving...

(The back ground music for this post is any song from Laura Izibor's Let the Truth Be Told cd)

The last couple of weeks have been great for being in the studio.  If I were to make a complaint it would be being there gets the pistons firing so fast with ideas and there is no way I can work fast enough to attempt them.

(auditioning threads) 

Crowbonics: The Scroll came home just as I was nearing completion of Crowbonics: The Hymnal which morphed into something that I had not intended due to being excited and getting carried away with the scissors.  After a couple of sleeps I'm okay with now having 2 new pieces instead of the 1 and I'm welcoming the opportunity to start over from scratch with The Hymnal.

(auditioning beads)

The past couple of weeks I've also been finishing up "studies" that have been hanging around, some for over a year.  Now they feel less like "studies" as I'm working with intentions towards a vision for them versus "let me see what this will do".

(stuff I do when I take a break)

  My stamina has been fueled by a new med I'm on for PH.  I started on it over a month ago and my ability to take stairs has improved and I attended the art car parade with my daughter and 3 grandchildren (it was a very short parade of about 20 cars) and was able to walk a couple of blocks and back to my car.  I'm still contending with mild to intense muscle inflammation caused by fibromyalgia but when I'm in the studio or the workshop I am successful at ignoring and working around the pain and making accomodations by pacing myself.  It helps that I'm good at tuning out distractions.

(Paula Cundiff's Art Van Go)

 The flip side of distractions is having interesting people visit in my studio.  Two watercolourists visited who are also in the building and I learned there is a life drawing class in the evenings and the price of admission is usually a bottle of wine (or diet coke if thats your flavor).  Michael, the artist behind me, brings his young daughter, prolly around 2yo, to his studio daily and she has the cutest voice and I love hearing what sounds like endless q & a.   Since Janet, a neighbor, has moved in, being at the studio has the added bonus of socializing...after conversations with her, I'm dizzy with fresh ideas.  She starts me down the path of brainstorming and I have to reel myself back (but its a super-fantastic issue to be faced with).  And yesterday, I had two seperate visits from old friends that I had not seen either of them in six years.  I was flooded with memories yesterday of things I had forgotten.  But with good friends it doesn't matter the time or the distance...the rhythm of the heart returns and re-connects.

Its all about value...

I'm spending more time at the studio than at the basement workshop.  Primarily due to my focus of laminating and printing and dyeing which has a better set-up for it than the basement does.  The basement has morphed into the area for sewing with an area for painting cloth and silk dyeing with the microwave.  With the help of Ade I spent some time re-arranging the studio so that I could print from both sides of the table.  Last week I started printing on a piece of jacquard cotton and today this is where I left it-

 There are 4 different greens, 2 blues, and 2 reds used here.  Each colour dried before adding the next layer and then the fabric was heat set.  I'm at a happy point of being stuck so I lifted it off the table and hung in in the window of the studio.  I'm going to study it and do a self driven q & a with it before I decide what will happen next.  The immediate discovery was liking the backside-

From the backside, the lighter colours do the talking and just the opposite on the front.  But right now I'm leaning toward this being a piece that will be cut.  If it stays whole there will be a laminated sheer layered over the top. 

Using a black and white filter to check for value, I could see that value is working but it's colour that dances---when I'm working I spend more time thinking about value than I do colour. 

I have 2 new neighbors at Mellwood, Janet, a recently retired art teacher.  We seem to be vibing quite well and in sync.  I keep feeling like I know her from some place else.  The other new neighbor is a young man, Emmett, who is a mixed media artist, and who struck me as having "good home training" as my mother would say.  I appreciated how he carried himself and am looking forward to seeing what he creates.  I'll be saving cardboard for him. 
 
 
 

Listening and Learning...

The sheer lamination was not wide enough to become the 2nd panel in the Crowbonics series.  The three panels will be the same size; 40 inches in length and 18 inches in width.  Being that it was not wide enough, I cut this sheer in 3 sections and decided to use these pieces to further experiment with what lamination can/cannot do.  Hand stitching is a natural compliment but lamination is not forgiving at all with un-stitching!  The pinholes left behind can become a design element...I'm considering  placing copper brads, eyelets, chicago screws, or gold leaf lamination (or some combination) in the area where the pinholes remain...but machine stitching is next...ummm, but maybe not...maybe I'll insert the metal pieces and then machine stitch (carefully of course).  I'll put them up on the wall and talk with them for a day or two before I decide...similiar to George Washington Carver, I'll listen for divine instruction ;)

exhibit a

exhibit b 

exhibit c

The backgrounds remind me of the building where my studio is located.  It was a former meat processing and packing plant and the integrity of the building has been maintained...lots of exposed metal shafts, pipes, and bricks. 

 

Basting

Basting, it has to be basting. When I ask myself what is the least favorite thing about quilting...I believe it is basting.  Its important but tedious...tonight I went with 505 temporary adhesive paired with saftety pens (pins?).  Quilting the stones is my favorite pattern for the texture it creates although here on the screen it looks flat...could be due to the circles not being tight enough, thread colour too close in value to the background, or that the middle layer is commercial felt instead of batting, or all of the above.  

This working intuitively with little to no pre-visioning on the outcome is working for me of late.  It might change again sometime and I might go cerebral at some point but just flowing when I am here in The Basement is working.   The painted fabric (above photo) is one that was eliminated from consideration for the Crows.  Its my aim to have this finished by the last Friday in the month for F.A.T. (Frankfort Avenue Trolley Hop) Friday which is designated as the Derby Hop.  I'm not sure if Mellwood will do anything special but I'm expecting that they will...a tenant's meeting is coming up next week and I'll get the scoop then.  I'm feeling a little gutsy (or just crazy enough) to hold a "Grand Opening" that night which gives me three weeks to plan.  I spent yesterday, pretty much all of yesterday, trying to recall how to create and merge layers in Photoshop in order to produce one mock 4"x6" postcard...if you click on the page heading for The Beauty of Holiness you can see what consumed me in time and energy....darn near an entire day squeezed into a 4"x6 piece of paper!!!!

 
(sectional view) 12"x12"

Sorry, Ade, but I'm not going with Languid for a title.   Try again.

Peace...

Gel Transfers using ink-jet images.

The transfer technique using gel medium is too unpredictable. I transfered onto paper, cotton, and a stretched canvas.The application of gel medium leans toward a thicker application then I expected in order to get a better transfer.  In this case, for the outcome, the use of materials seems a waste.  This technique gets moved over to altered books, fabric postcards at best.

I'm now trying a similiar image with a magazine page and a toner-based imageon paper and the stretched canvas.

Did you hear me howling????

Why didn't someone tell me just how good The Book of Eli is!  It has to be that once rare blue moon that I take a hankering to go to the movies but on a spur of the moment Peter and I decided to go Saturday night...the intention was to see Avatar but it only showed once and we had missed it.  I sat there for most of the movie asking myself "where is this going?"...the story line is not new (hero set out to save the world) but OH WHAT HAPPENED IN THE LAST 10-15 minutes of the movie had me howling!!!! (okay, i didn't really howl but surpressed it...although i had great difficulty understanding why the audience was so sedate because it definitely should have been a communal howling experience!)   In my surpressed howl, it was one of those howls when 10,000 ancestors show up and raise their glasses to toast!  Timeless wisdom came through and the story found its soul!!!!!  The story has stayed with me...issues of commitment, faith, education, sight, power,...I awoke Sunday morning with the movie on my mind after dreaming about interviewing Denzel on why he took the role.  In the dream he said something about his own career being a walk of faith and he wanted to remind young people including his own children about what it means to be committed.  (My nephew Eric may not know how to choose a college basketball team but his recommendations for movies has improved greatly!)

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In The Basement last week I kicked in a few hours...practiced fmq and fme as part of The Learning Curve curriculum and on Friday, just before leaving, I painted this cauldron.  It was a photo printed on fabric that didn't print well due to ink heads needing to be cleaned.  Its been in the scrap pile for weeks.  I picked it up and taped it to the table and selected paints and started playing...not too much forethought (less damage that way)...but looking at it this morning I'm thinking my Crow piece might morph into Crows and Cauldrons.

Anaya remains in NICU.  If her respirations stay down for the next couple of days she will come home. She is filling out and looking good.  She only weighed 6lbs and 2ozes when she was born...I'm so use to 8 pounders that 6 sounded small to me.   Deep down, I know that everything has its place and is in order.  Hugs to  those who have sent blessings and prayers. 

Scraps of Splendor...

sunshine, and warmer temps (it hit the low 60's today!!!!) makes keeping the faith a whole lot easier!

These dyed silk scraps came from wearable artist Laverne Zielbelski from Lexington, Kentucky.  Laverne had a booth set up this weekend at the Kentucky Crafted Market which I attended for a few hours on Saturday.  I met Laverne over 20 years ago when she lead writing circles and reconnected after discovering last year that she is also doing textile work for creating her poetic line of clothing.  Laverne is also doing Nuno felting and using the FeltLOOM created by the owner of Lan Mark Farms near Lexington.  It is a machine that takes the rolling out of Nuno felting.  The University of Kentucky Art dept. is looking into purchasing one of the machines...I wonder if UofL's Fiber Art dept. would get one????  Slim chance I think due to budget cuts in the last few years but one never knows, right?!

I worked about 2 hours today at The Basement.  I spent about 30 minutes cutting shapes as an exercise from Finding Your Own Visual Language and will work some tonight with mark making on paper using a variety of inks and pens and brushes.  I spent about an hour working on the quilt in honor of Crows and thinking about James Audubon.  Many times an idea will hit me and I can see it and I think "how brilliant that will be if I can pull it off!" and then weeks later I think the design has morphed into something "too simple" to reflect my ideas and I'm heading for the path of least resistance.  The conflict comes in when I create a focal point...when I create an image, in this case Crows, I loose the emotion for a piece.  I really like my backgrounds so much better which I describe as emotional abstractions.  The questions I posed today are:  Should I go for narrative?  Should I make the Crows larger? Should I make the background smaller?  Should I make the Crows out of felt and sculptural?  What if I wanted to return to a total abstraction about Crows...what would it look like?  What are Crows attracted to?  Should I make the background reflect an urban setting?  A practice I took from the Benn and Morgan Workshop back in '08 is to write the answsers to the questions down when I'm stuck...this is scheduled for Wednesday afternoon. 

Peace,