Time went a little wonky this week. K was in India. I spent a lot of time alone. Sleep, not so great. And, Faulkner’s been taking me on a slow ride in “Light in August”. Mostly I enjoyed the solitude, the expanses of quiet. And today, with snow and the time change, It is officially another season. A season were ARE MEANT to be more quiet.
One friend sends an email saying she is putting the “NO” in November. Another announces a retreat from social media. In another email, I read: let’s leave the space empty. This is the time of year to pull inward. It helps to be clear.
Even though Halloween is so last week, I have to report that its mood drew me to the studio bin labeled, “body parts”. A few beings ‘fell out of my hands’ (as Mo might say). They gave me sparks of pleasure and in a very real way, kept me company. Those of you on FB have already seen ‘the Plaid Boys’… but here are a few more shots. ‘Argyle Girls’ to come! And a few of my seasonal felt mice.
But before I go off to my LIST and my PAGES and the CLEANING I like to do on Mondays, I wanted to assemble a collection of pictures from the summer class I took — ‘Considering Weave’ with Jude Hill over at Spirit Cloth. Just as a place to see what I did. How much I learned. These kinds of visual bookmarks make a difference down the road… it is so easy to underestimate or lose track of the volume of threads/cloth that went through the process with me… this will help me remember!
And, by the way, the act of doing this — its value both now and later — is just one of the many, many things learned from Jude.
in-process butterfly received a needle woven body — idea to embroider words inspired by Cindy over at handstories
some actual weave; some figurative
one of my indigo cloths with woven opening — made so many mistakes!
a woven patch — lumpy, loveable, functional
the “Triscuit” crater — backing from my indigo vat
buckling caused by size of opening could not be fixed even with machine stitching to a heavy weight backing
woven ‘islands’ extending patterning over edge — one of my favorites from the class
woven islands partnered with Middle Passage piecing
visual weave with vertical and horizontal running stitches
the crow got a woven base and flew off to Wendy Golden-Levitt
seeing warp and weft all around
continuing on a piece in context of weaving — many sections begun in another of Jude’s classes
more strip weaving because it’s hard to stop; travels well
speckled vintage linen from Deb Lacativa’s dye pot
blue sky — arashi technique with commercial dye — by moi!
sampler: Corn Guy
as I started ‘sewing’ more, back neatened up (worked top down)
copy of Jude’s waves. Woven on primitive box loom (which was a rectangular basket in my case)
Planning to order a bead loom so that I can continue without some of the frustrating tension issues caused by wrapping warp around a basket and taping it to the back.
I didn’t get a chance to make any fringe and look forward to trying. Would like to edge some of my Star Maps with it. And, I can’t wait to try some of the more experimental techniques offered this month. Any more meaningful reflections on the class will have to wait. It was a terrifically provocative journey (as usual)… and if other classes I have taken are any indication, the fruits of the learning will keep coming over the next months and seasons.
Here is a conceptual nine patch. It is about all I have time for now. I am intrigued by how radically an image can be altered, just by changing how much light gets in. This little landscape moves from left to right in installments like a comic book. I like finding the mountains, lakes, and moons in the fabrics. I like including time as an element in the story of the cloth.
I am in and out of town one more time — so blogging will be more intermittent than usual until after Labor Day. Enjoy the last days of summer!
Here is a 38-second YouTube video of the cloth I’m working on flapping in the wind during a boat ride this past week. Watch for the moon.
The white bands of stitching were added to the moon’s surface last night. More needs to be done to stop that off-white square from resembling a Triscuit. Triscuits look woven. So was this: Yesterday, K. and I finished watching the spell-binding first season of ‘True Detective’ — a Louisiana murder mystery with Matthew McConaughey and Woody Harrelson. Holy cow! The sociopath was deviously smart and a worthy opponent of two driven and clever detectives. The creep could do voices, accents, and evade capture for decades. But he also made these very cool pagan-influenced twig and rag and bone sculptures that I just loved (think: Andy Goldsworthy). It was odd to be enamored of the evil character’s creations.
In looking for an image from the show, I came across this: “ruin porn“. I understand the magnetic pull of run down and decrepit structures. In ‘True Detective,’ the central ruin was a former plantation — complete with greying, rotting big house, rickety slave shacks, and an underground fort. These sets were beyond creepy, and yet mesmerizing, proving, I suppose the “ruin porn” article’s point. (For the record, they went overboard with the piles of broken, vacantly-staring dolls. They were not needed to create the ambiance). See add on paragraph below about set design.
My cousin Ginny Mallon (photographer/painter/blogger) has been exploring all kinds of ruination, especially along coastlines. Most recently she photographed Dead Horse Bay, which is in Brooklyn near the Marine Parkway Bridge. Its beach, “Bottle Beach” is so full of garbage from such a long span of time, that it’s considered a ‘living museum of trash’. Inexplicably, her photos of the garbage are gorgeous.
Driving from Newton to Brookline today, I almost stopped to photograph a robust rose bush spilling over with vermilion flowers. It screamed ‘summer’. It was beautiful. This is almost the exact opposite impulse of the one I documented a few weeks back — the desire to shoot pictures of parking lots, guard rails or gas stations, in part to upend a narrow sense of what constitutes ‘beauty’. I guess I am allowed to feel both urges. This door was captured about a year ago after fabric shopping in Arlington, I think.
Debbie’s comment inspired me to find out who designed the sets for ‘True Detective’. His name is Joshua Walsh and you can read about him here. The ‘vulture’ blog post had this to report: “’He’s the son of a family that ran a funeral home, and he’s an avid hunter and taxidermist — basically, the perfect dude for the job,’ DiGerlando told Vulture.”
I had just commented below that Louisiana itself is a landscape of ruination, and one we’ve seen before in ‘True Blood’ and ‘Beasts of the Southern Wild’. It is was no surprise to discover that Walsh also did the set design for ‘Beasts’.