Today the scene behind this quilt is a snowy one. Not at all like yesterday’s blazing blue sky. Rain predicted for later.
Have I ever ripped out as much as I did for this Village Quilt? I don’t think so. I’m so pleased with the result, I’m predicting more fussiness in my future.
First, I had to shrink a glaring rhomboid of orange. Next, the beige square with stitched orbs (center top) looked too static, so I unpicked its two edges and added a triangle to the lower right.
Then, after stitching what I thought was the second to last seam, the roof lines were off so I had to rip out a long horizontal seam and a partial vertical one. ARG! To correct the placements, I added narrow strips to either side of the rectangular section, one pieced, one not.
Someone has expressed interest in the piece and I may leave the finishing treatment up to her. More and more, I like these cloth villages without any backing whatsoever.
Happy Sunday! Any good news to share?
I’ll start: K is home safe and sound from China. Also: I’m enjoying another outstanding Irish author right now and when I say outstanding, I mean mind blowing (the other recent read was by Colum McCann). Also: I managed to get both boys’ birthday boxes in the mail well in advance of their days!
It’s a little funny to me that just beyond this serene house quilt is the huge mess associated with tree clean up.
Happily, my brother in law came to help yesterday, otherwise we’d really be behind the eight ball.
It’s still a bit daunting. For one thing, on closer inspection, we noticed that the tree did hit the house, so I’ll need to get an insurance adjuster out here as soon as possible (after two back to back nor’easters, I imagine they’re very busy!) More snow coming Tuesday, P.S.
With the ladder leaning on an about-to-be-cut branch, there were plenty of Wily E. Coyote jokes.
We tried to broker a meeting between Finn and his dog cousin, Ziggy, and did everything right up to a point — (starting in neutral territory, keeping a good distance, then closing the distance, then a break apart) after which it did not go well. It turned into a minor disaster, actually, because when Finn went apeshit, I slipped in the snow and let go the leash. Ziggy seems to be fine, but it didn’t prevent one of my self-pitying laments about difficult dependents.
Speaking of which, after eight years on the wait list and three application updates, my sister has gotten subsidized housing. This is the best possible news for her (and secondarily for my brother, whose financial burden will be greatly reduced). For me, it is a giant chore with no real benefit (did I mention self pity about difficult dependents?) I am happy for her, don’t get me wrong. I just wish there was someone else to orchestrate the move.
Meanwhile, these are my last few weeks to prep for Newton Open Studios. We will pay rent for my sister’s current apartment through the end of April, which hopefully will make the transition manageable.
(Just so you know, we moved all her belongings into storage in 2009, out of storage in 2010, and then had to assist with near complete possession pack up during the bed bug ordeal last year. These were the same years that we moved our sons a total of seven times).
In the winter, after the leaves fall, our first floor is flooded with light. It’s one of the things I like most about this house.
One day last week, when I was feeling a little at odds with myself (I can’t remember why), I found myself thinking, “But this light, I get. This light doesn’t confuse me.” How to address the brutal history of slavery in a quilt DOES confuse me. For one thing, there is the question — is this my story to tell? That query triggers the question – does that matter, and if so, how? More on those thoughts later.
The working title for this ‘Trayvon Martin’ quilt is: Strange Fruit, triggered by an email conversation with the fiber artist, Kit Lang. Ms. Lang responded to the Zimmerman acquittal with two quilts, one of which she titled “Strange Fruit – Stand Your Ground.” You can see it here.
Being reminded of that haunting Billie Holiday song informed the choice of the fabrics printed with trees and vines. The ship in the lower right references slave ships, as does the brown batik with horizontal striping.
I got away from the initial idea of a white house with a white fence beyond which a black boy could not safely go. One of the other Martin quilts may preserve and explore that initial design impulse.