Monthly Archives: May 2013

teach what you want to learn

face-shapes-traced

simplest components from African mask (see last picture, below)

We’ve all heard that right?  We teach what we most want to learn.

On the eve of teaching another class at The Boston Center for the Arts, I ought to be asking, then, “What is it that I want to learn right now?”

Hmmmmm. How to take a motif, maybe, and ‘go deeper’ with it (whatever that means). But I know what that means.

teaching

making faces

Or here’s a corollary: we give the advice we need to follow. This is extremely useful for me personally, because two of the people I routinely give advice to are Oppositional, with a capital “O”. Sometimes all I can do, is turn it around.

What advice have you given recently? Don’t fudge it by scanning memory for advice you WANT to hear. I recommend just thinking of the last three things, the most recent things, you have said to someone… in an effort to be helpful.

I’m always telling certain people to be more organized, or more responsible (and yes, yes, that applies here) but here’s the most recent thing offered:  yesterday, I suggested to someone that she partner written memoir passages that are painful with those that are joyful, so that the juxtaposition told a story, on top of those told in the passages and, possibly, to make it bearable to write the really tough stuff.  My idea for her was that a one-two step like that had the potential to turn into a dance, given sufficient air and trust.  So? Trust. Give work air? Partner the ‘uck’ with the ‘yahoo’? That’s probably pretty good advice for me right now.

four-faces-blue

building from the bottom up

Little changes make big differences

Little changes make big differences

eye lid adjustment

eye lid adjustment

looking askance

looking askance

add patterns!

add patterns!

Tomorrow’s adult class will be ‘more sophisticated’.

two sections (top and bottom) that may or may not belong together

two sections (top and bottom) that may or may not belong together

But, I’m wondering, maybe the more you break a thing down, the more complex it becomes. This I have seen time and time again in the manner of Jude Hill‘s designs and thoughts and cloths… the simpler she makes it, the more avenues spin off in every direction.

So maybe for the adults, I should make it EVEN SIMPLER!

Female kifwebe mask, late 19th or early 20th century. Unknown Songye artist. Democratic Republic of the Congo

Female kifwebe mask, late 19th or early 20th century. Unknown Songye artist. Democratic Republic of the Congo

Sometimes a leaf

blanket-stitch-window

a ‘found’ roof

Sometimes a leaf turns into a roof.

And pajamas become windows.

And blanket stitches form wonky shutters.

found-house

moon in center for a change

That gauze has become a moon.

And the squiggly, indigo-dipped print on the bottom echoes the paths stitched on the ‘Red Sky Houses’ quilt.

paths-in-progressOverheard on TV this morning: “The big boomers of last night have headed out to sea.”

It is supposed to be in the nineties today and though a 17-pound weight loss for the year (like how I slipped that in?!!) makes the prospect of wearing shorts a little more appealing than it might otherwise be, I’m bracing myself.

Something lightens

river-house-placed

“River House”

This house was built in preparation for the class I’m teaching this Saturday at the Boston Center for the Arts.*  While probably not apparent to a viewer, this quilt pulls together many elements of recent learning.

How so? For one, it’s lighter than I usually work (exploring white online with Jude Hill).  It has a less defined horizon line. The house sinks into its surroundings better and displays a little perspective (the two barn pieces taught much!!! here and here).  And, the attachment techniques are more refined (and yes, that is the same green plaid I used to roof the two big Barns).

river-house-only

component building

Off-top building” —

By that I mean connecting small elements with stitch prior to trying to connect them with the background (the “top”).  In this case, I HAD to stitch these teeny house elements together, because I couldn’t keep lifting and shifting the background fabrics without going nuts if I hadn’t. Once stitched, I could easily lift the entire component and rearrange the background fabrics.

Note to self: when constructing a component, use pieces of fabric that are already part of the background!

Reducing the number of pins required for when the piece is in your lap is always a good thing. And, this component-building has the additional virtue of reducing stress about shifting windows and doors, some of which are smaller than a standard-sized postage stamp.

River-house-all-pins

‘sky’ fabrics dyed in backyard last summer using chemical indigo (I know! I know! – haven’t gotten to the plants, yet)

Again, because of the work with white over at Spirit Cloth, I laid some gauze over rectangles on the surface. They are staying. For a while, I shifted the house lower down (photo above) and exposed a piece of the underlying linen napkin (just above the roof). I liked wondering what it might be like to leave an unadorned white section, there, right in the center of the quilt. What matters? The house? Or the empty space above?

river-house-cheater-water

‘shadow’ of house is an overlay of polyester from a shirt

It is not something I have committed to yet. In the photo above, I have shifted the house back to center, covering not only the white linen, but that mauve rectangle (another goodie from Sandy Meegan, by the way!!).  I like knowing that that empty rectangle is still there, even if I’ve covered it.

Of course, the entire underlying linen napkin is THERE.

The pale blue water fabric came from a fabulous skirt depicting scenes of a European city on a river. I normally eschew ‘cheater’ fabrics (the name says everything, doesn’t it?), but here I am happy to employ.

*********************************************************************************************************************

Back in 1980, I lived in SF and worked in a copy shop.  The best part of the job was access to a color copier, which was BRAND NEW technology then!  The house image came from a photo of a duplex I occupied during the last two years of college.

isabella-street-xerox

isabella-street-greenAnd here’s a more recent picture (photoshopped church from Newtonville):

newtonville-churchLastly, a collaged card using a cut out photo of a quilt and an Inkydinkydoo moon stamp:

moon-and-katy-poster-edgeAdios!

* Class is at Boston Center for the ArtsSat. June 1, 10:00 to 1:00
Free! (but contact the Center, it might be full).
617-426-5000

meditation on germs and used Kleenex

found-fiberI am perpetually picking up ‘garbage’ on my walks, as I know many of you do, too. Generally, I go for rusted scraps. This find may be Kleenex. I know. I know. Gross, right? But – it was so old, so weathered out of its original use (if, indeed, it had ever been used), that I didn’t allow germ-worries to interrupt my scavenging.

People who know me ask, “When have you EVER let worry about germs slow you down?”

grey-fiber-on-grassI have a long history of being rather casual about germs.

Perhaps it’s because my mother was a lapsed Christian Scientist. She wasn’t averse to doctors or anything. Nor did she instruct us on the powers of love or the mind. But she did seem to think Vick’s VapoRub and aspirin could cure most childhood illnesses. I don’t think I ever heard her say, ‘Put on a hat or you’ll get sick!’  Nor were we issued dire warnings about death-producing cramps when we jumped into the Woodlin Club pool right after eating lunch. Most of all, she did not instill the notion that germs were lurking everywhere, just waiting for the unsuspecting, unhygienic to stumble or swipe into their sick-producing path. On some of these things, she has been proven correct. Regarding germs, though, of course I now know better.

But here’s the thing. Even though I now wash my hands more and will avoid someone sneezing up a storm, I keep bumping into germ-protocols that surprise me. Still!  (To my credit, I’ve always been scrupulous about cutting boards, knives, and raw meat)

The first time this happened, I was about eight. On a really hot summer day, my friend Susan’s mother took us to Jumpin Jack’s along the Mohawk River for ice cream.  I remember being absolutely shocked when Susan’s mother prohibited her from eating the flat bottom of the cone. Why? Because it had rested momentarily on the counter. (As a side note, given that Susan’s house was the messiest (and perhaps the dirtiest) on our block, I found myself wondering how this strict concern fit with her mother’s rather lax approach to housekeeping) (and yes, eight year olds DO think this way). This was just the first of MANY shocks.

The Seinfeld episode on ‘double dipping’ was a revelation to me.

When it came time to parent (nursing for a total of 32 months, I was now hyper-attentive to keeping my hands clean), I found the joke about the ‘five second rule’ ridiculous. It was not a joke for us, but a natural response to fallen objects. The birth order jokes about pacifiers? You know how it goes — boiling for the first kid; wiping off for the second; just popping back into the mouth of the third… did not pertain because ‘popping it back in’ was where we started.

Years later, in an online craft venue — I was shocked again — reading about a potential buyer who would NEVER buy a handknit item, say, if it had been modeled on a person (with skin! that flakes! is redolent with oils!)

Shocked once more to learn that Martha Stewart NEVER sets her handbag on the floor. Furthermore, she buys purses with metal studs on the bottom to keep them slightly elevated from WHATEVER surface they rest on (really? public bathrooms, okay, but everywhere?!) Even though I take all of Martha Stewart’s ‘perfect’ lifestyle choices with a massive grain of salt, (given the minions she has to clean her toilets everyday, for instance, and prepare her much-touted, healthy fresh juices), I can’t help but look at my purse and wonder where it’s been.

Here’s the most recent example. Just a few weeks ago, in writing class I listened to a character sketch of a woman whose signature trait was vulgarity. I asked, curious, ‘what made her so uncouth?’  The example?  The casual (but apparently repulsive) habit of sitting on her shoeless foot. On furnishings. In a movie theatre, so close to other people.

Maybe it was a bare foot, but still. I do this ALL THE TIME. So, I have to wonder, “What ELSE am I doing that is considered repulsive and unhygienic? That I’m not even aware of?!!” (And, just so you know, I cannot sit in most adult-sized furnishings comfortably WITHOUT tucking one or both feet up and under my haunch).

So, I get it. Picking up a potentially USED piece of Kleenex off of Week’s Field is gross.

But I fell in love with it.

grey-fiber-on-grass

grey-stitchedIt is delicate. Friable. And even though it is so delicate, it reminds me of the metamorphic rock, gneiss. It could pass, in some views, as a section of an old topographical map.

I put batting behind it, then, after stitching, clipped some away. I like how the furriness of the batting (normally an annoying distraction) adds to the texture.

grey-house-and-moonsSince this backing print is thick – perhaps cotton duck? —  I machine stitched. The scrap is sewn on the WRONG side of the fabric to dull it down a bit, but photographed up against a window, the print comes through clearly. I added a sheer moon, and couldn’t resist slipping a little blue linen under the leaf-shaped ‘window’ in that sheer. Lo and behold! I had not seen or intended it – but there it is – another house!

found-house-up-closeThe light coming through the needles punches makes me happy. Here the house looks nearly charcoal-black because of the setting on my camera.

Widen the lens – how?

umbrella-dappled

side porch

Always, the unconscious is present, making this or that comment in our days, usually quite a bit ahead of our awareness. That’s part of the mystery, the fun, and the intrigue of making art.

But this picture made me wonder if there weren’t ways to build in a practice of less-conscious captures?

I mean something more than accepting that scrap of fabric that fell from somewhere and landed on a quilt, begging for inclusion. And I mean more than embracing a wicked mistake and owning it as part of a now-changed design.

I mean consciously building in a more random catalog. Anybody have any ideas about how to do this? Does anyone do this already (that they know of)? I’d love to hear.

The umbrella picture struck me because I shot it after composing a series of careful studies of the unfurling, magnificent hosta that line our sidewalk. I composed the way I usually do and had some thread of text forming in my head (something about the glory of spring and the changing tides of opinion — in this case regarding hosta — a pedestrian plant that I used to dislike, but now appreciate for its reliability and willingness to endure all kinds of stress — from rabbit-dining to cold shocks, mashing, and even clips by the lawn mower). As an afterthought, I snapped this dappled light and wet umbrella on my way in the door.

I liked this picture so much more than any of the careful shots, that I had to wonder what else I am missing by pointing my lens in predictable directions.  The rake with its signs of recent bed-clearing, the umbrella still wet with a spring rain, and most of all, the dappled  light… these elements collectively said “SPRING” better than my careful compositions. What ELSE am I missing by pointing my lens in ‘pretty’ directions? By deciding in advance what constitutes an image of something, in this case — spring?

And speaking of spring, here are some more shots of my neighborhood and front yard.

flamingoes

a snobby conflict about flamingos years ago led many in Newton to adorn their yards with them

recent-plantings

our front yard – these pansies have suffered in the recent cold

rock-in-shade-garden

one of my favorite nearby gardens

stone-pagoda

another beautiful garden on Oxford Road

On the route where these pictures were taken I found a lovely hole-ridden grey piece of something – I don’t want to gross anyone out, but it is probably a piece of Kleenex.

grey-fiber-on-grass

found object has become a ‘house’ quilt

More on that tomorrow! But here is a sneak peek:

found-house-up-close

light coming through