making marks on back with oil pastels while wondering, what is left of an experience years later and how do we mark it in consciousness?
Color copy of new version - with B&W figure in lower left. Abandoned brick/grape leaf background.
Using inkjet printer and prepared, commercially available fabrics - I print one copy on cotton; one on polyester organza.
Placed sheer version on top of partially quilted opaque version
This corner is too dark - so paint and ink to the rescue
Made 'suckers' from erasers out of the junk drawer
Scary to mess about with this much time in, but stamped with copper ink and white paint
Finished piece is edged with striped linen and stapled to wooden frame - you can't really see the quilting or the layering effect in this light
Octopus on the wall.
saved backing sheet to use under fabric as stitching guide
Backer sheet is below the green wool. I stitched from back, following lines. Very messy because toner is not set on page. To be continued.
P.S. Hope to fix picture resolution issues ASAP. I have been wondering why my pictures are defaulting to a 72 pixel resolution and looked and looked at my Photoshop settings, but it now dawns on me that perhaps it is a setting on my CAMERA that I changed (the file size while noodling with something else – will check and hopefully fix.
Closing in on a finish here. This ‘sampler’ wants an edge and completion.
Collage, collage, collage renders places many layers thick. Pins and machine will be useful.
Some layers have been peeled, ripped and shredded away to re-reveal what’s underneath.
A gessoed surface is not the most fun for poking a needle through, but the thing I will be careful not to do again, is to machine stitch right up to the edge of a piece with batting, because then it is tough to tuck the white under.
I have been mulling over what it means to be innocent (are we EVER innocent? or, do we ever STOP being innocent)… and what it means to be setting out in love. Letters from my 20’s arrived in the mail yesterday (!!) from an old roommate, and in organizing my sewing patterns (also yesterday), I found letters I’d written and copied (because I worked in a copy shop in San Francisco) when I was 21. All this stuff about relationships (‘ugh’ if I might say). In some ways, it seems like a different person wrote those letters (thank god). And in other ways, so much is constant.
The quilt, with its layers, fragments, re-attachments, ripped open words, stars, and ‘memories’, speaks to what it means to be any age and want to be seen and known, flaws and all. The quilt speaks to desire and the ways it will be stopped by our less-than-holy selves, or expressed, in innocence and wonder. If there were a spot of red in the panels, it could even be a valentine.
This small piece was composed after an unusually grey June. Here in Eastern Massachusetts, we had one of the least sunny Junes on record — not the wettest, but the greyest. And, it did rain A LOT.
When the sun finally came out, I made this piece. I was eager to get gardening, get outdoors, get digging. The background toile features an antique plow or wheelbarrow. The waterlily has the feel of a summer sun.
I added the strip of vintage lace and the disk of organza after many weeks of following Jude Hill‘s work online. I encourage you to take a peek!