Tidal Wave XI, Plastic Trash

 

(Above:  Tidal Wave XI, Plastic Trash.  Custom framed: 40" x 40".  Plastic waste (mostly donated to my trash but with the intention of keeping these things out of a landfill) hand-stitched to a section of a vintage quilt (also donated to my stash for the same reason) and a button outline.  Click on any image to enlarge.)

More than a month ago, a friend from Columbia visited and brought a carload of "stuff" to donate to my stash.  Some of it came from another friend's porch, a place used by people who drop off things that neighbors might use ... especially art supplies.  Of course, this frequently means that someone drops off a bunch of collected plastic that was supposed to become "art" but then never did. Eventually, there's just too much and it all gets tossed ... or in this case ... someone else brings it to an artist like me who really will use it.  

(Above:  Detail of Tidal Wave XI.)

I wish I could say that I kept everything but I didn't.  There's simply too much plastic in this world that can't be recycled. Not all plastics are accepted at recycling centers.  Here in Pickens County, only things marked with a #1 symbol are accepted ... and not even all of them.  Thin #1 plastics can cause issues with some recycling equipment.  Even laundry detergent containers which are marked with a #1 symbol and are accepted have non-recyclable lids.  In fact, most plastic lids cannot be recycled.  Lots of people save them because they've seen artwork like mine and hope that saving them will keep them out of a landfill.  Lots of lids and other items ended up on that Columbia porch ... and then were brought to me.

 

(Above:  Detail of Tidal Wave XI.)

 

It took most of an entire day to sort through all the bags of saved plastic.  I had to make several decisions regarding what I could reasonably keep and what was just too overwhelming to save.  Almost all the black and white lids got tossed.  They were the most common but they are also the least likely for me to use.  I sorted and sorted into piles of multiple items. If there were at least six or eight, I bagged them.  I need multiples for my Found Object Mandalas.  Still, there were plenty of unique and colorful things ... things that just didn't make sense to bag.  After all, the giant tub in which I store these bagged plastic is only so big!  Finally, I decided to stitch a tidal wave using the plastics that I couldn't otherwise keep.  It was fun!

 

(Above:  Tidal Wave XI at an angle ... hanging on the side of my studio/home/renovated church.)

 The old and damaged quilt used was first covered with a layer of white tulle/netting.  I usually do this to all of my Found Object Mandalas, Tidal Waves, and similar work.  The tulle/netting protects any threadbare areas or ... in this case ... fragile seams.  These blocks were reversible.  They were made individually and then hand-stitched together.  Whoever attempted to do the hand-stitching wasn't particularly good at the task.  The seams were coming apart.  Thus, under the quilt was a piece of an old damask tablecloth and on top was the netting/tulle.  In all the areas that aren't part of the tidal wave, I hand-stitched a pattern in a pale lavender perle cotton thread.  This adds interest but also integrates the netting to the quilt.  Most people don't even see the netting!  I'm really pleased with this piece and will probably end up making another one some time in the future ... because ... well ... there's just too many non-recyclable things in this world!

 
 

Our Trip to Spain

 

(Above:  Selfie with Toledo in the background.  Click on any image to enlarge.)

We've been home for just over a week but it has taken until today for me to sort through more that 550 pictures, catch up on overdue correspondence, and do all the little things that needed done after being away for eight days!  In a nutshell, however, the trip to Spain was FABULOUS.  Yes, it rained a bit while we were in Madrid but not on the days when we went to Toledo and Zarazoga.  When it rained, we stayed in a few of Madrid's magnificent museums. Photography isn't allowed at the Prado but I made up for those hours with dozens of pictures from Reina Sofia and the Thyssen Museum.  I'm not going to post any of those.  Why?  Well ...this blog post is going to be a long one and the artwork can be accessed on-line!

We also walked a lot, more than 20,000 Fitbit steps most days.  We climbed towers and followed paths outlined in our Lonely Planet guide book.

We even stayed in a room in Zaragoza with the most amazing view to the main plaza and the imposing facade of the basilica.

We visited the royal palace (and recommend to anyone going to Madrid that they go there too ... and get advanced tickets to avoid the very, very long line.  Also, book an English tour.  It was grand and far better than wandering around with information headsets.)

 

I couldn't get over just how ornate every room really was!

 

The floors were gorgeous; the fabric exotic; the mirrors and clocks and furniture ... just WOW!

 

The chandeliers were simply over-the-top!

 

We visited the Temple of Debod, one of the few structures that were physically moved, piece by piece, from out of the area that is now under water due to the building of the dam on the Nile River.
 

 

On Sunday, there's a giant flea market in Madrid.  Visually, it was stunning to see all the vendors ... especially the one selling all sorts of picture frames!

We sought out unique architecture ...

... and visited several covered markets.

At one place, I added my prayer to thousands of others!

We didn't have a meal at the restaurant under this rooster sign ...

... but we did eat very, very well.  One night we had a traditional leg of lamb. Another night we had a seafood paella.  On this occasion, we ordered tapas ... both cold ones and hot ones.  We really have no idea what we ate because the restaurant was very much a locals hang-out.  We told our waitress to pick for us!  Everything was delicious.

I lost count of the beautiful churches we visited. Some were ancient. Some were much newer.  All of them, however, included elaborate decoration and a variety of styles.

The vaulted ceilings were often stunning.

Many were part of a larger complex with a cloistered courtyard.

Statues filled the many side chapels.

I can't ever remember seeing so much gold!

Even smaller niches were intricate.

We visited a synagogue and another church strongly inspired by Moorish design.

Ornate patterns were everywhere!

Domes were often over-sized and soared to unusual heights.

Several churches maintained separate museums ... like one for a grand collection of tapestries ...

... and another for stained glass masterpieces.  All in all, the time in Spain was inspirational and fun!

Love is a Tidal Wave

(Above:  Love is a Tidal Wave VIII.  Framed: 21 1/4" x 17 1/4".  Gelli plate printed tidal wave with acrylic glass bead gel and pigments; free-motion stitched outline; beads; college of letters.  Click on any image to enlarge.)

While I was in Montana last fall, I took a half day workshop that taught participants how to use a Gelli plate.  I was pleasantly surprised at just how super simple this technique really was and ordered a 9" x 12" one for myself.  I've used it twice.  The first time, I just played around.  The painting I made were laminated and cut into bookmarks that were sent as Christmas surcee to a few special friends.  The second time, however, had an intention!

 

(Above:  Love is a Tidal Wave I thru VI.)

I wanted to see whether or not I could create a tidal wave resist using a stencil that I cut out from a piece of release paper (the cover sheet to my Pellon Wonder Under ... a sleek, non-stick thing).  Well ... sure enough, it worked.  I must have printed thirty or thirty-five different tidal waves on random pieces of sheet music and cardstock.  From them, I selected fourteen to progress.

 

(Above:  Love is a Tidal Wave VI thru XII.)

The fourteen were fused to a heavy watercolor paper.  Buttons were stitched as an outline.  Five-point stars filled the background.  Holes were stabbed through the center of each star in facilitate a thin beading needle ... and beads were added.  The crest of each one was also treated with Golden's glass bead gel mixed with a dab of acrylic paint to mimic rushing foam of a real wave.  Finally, individual letter clipped from vintage ephemera and modern magazines were collaged to read: Love is a Tidal Wave.  

 

(Above: Love is a Tidal Wave XIII and XIV.)

I'm not sure how I came up with the line "Love is a Tidal Wave" but while watching the Olympics, I couldn't help but to notice the many '80s melodies used by ice skaters.  Television commercials use plenty of '80s songs too.  Finally, I realized that my mind was almost channeling Pat Benetar's 1983 Love is a Battlefield.  For all I knew, her lyrics were about tidal waves instead of battlefields.  Steve laughed and laughed when I told him about this strange "almost" connection.  As a result, I've signed each one below the image on the right but on the left ... in pencil ... I wrote "With apologies to Pat Benetar!  We bought 100 feet of a cool moulding but it only was enough for the first twelve, standard 20" x 16" frames.  The last two are simply in clear cellophane bags.  In case anyone is interested, the framed ones are priced at $275.  The last unframed two are just $195 each.

Found Object Tidal Wave X, a miniature

 

(Above:  Found Object Tidal Wave X, a miniature.  Framed:  12 3/4" X 13 3/4".  Small found objects hand-stitched to a section of a very tattered antique quilt and buttons.  Click on any image to enlarge.)

This piece was a real challenge.  For some artists, working BIG is a problem ... especially for an embroiderer whose stitching is extremely detailed.  For other artists, working small is an issue ... especially for quilters who are accustomed to bed sizes.  Ordinarily, I don't have a problem with big or small but that's only because I work intuitively.  Whatever size seems to dance in my imagination is what I'll gravitate to.  For the tidal waves, the size has always been rather large.  

 

(Above:  Detail of Tidal Wave X.)

Perhaps the assumption for a large size was due to the enormous impact of a real tidal wave.  Perhaps it related to the stash of random things that just didn't work for a Found Object Mandala ... things that I didn't have in multiples. I'm really not sure but making a "little tidal wave" was a scary idea.  I really didn't think I could pull it off.  

(Above:  Found Object Tidal Wave X as seen at an angle.)

My doubts caused me to start with an old frame ... just in case this idea didn't pan out.  My doubts also made me select one of the most tattered quilt scraps in my stash.  After all, if this didn't work, I wouldn't have lost anything too precious. (There is a piece of felt under the quilt!) Yet, it worked!  The button outline created enough contrast with the background to make an obvious tidal wave.  Apparently, my stash included enough tiny objects too.  The quilt ... though tattered and threadbare ... was safely under a layer of soft yellow netting and on top of the felt.  I spent time stitching/quilting these layers together.  I'm really pleased that this challenge was successful!  Who knows?  I might make another little tidal wave!
 

Large Stained Glass XC

(Above:  Large Stained Glass XCI. Framed: 63 1/4" x 23 1/4".  Layers of polyester stretch velvet fused to recycled packaging felt with free-motion machine embroidery and unique melting techniques.  Click on any image to enlarge.)

After finishing Large Stained Glass XC, I immediately got to work on this one! I really like the six-pointed star in the central circle plus the fact that I used almost every color of polyester stretch velvet in my stash!

(Above:  Detail of Large Stained Glass XCI.)

Another great thing about making these pieces in my new location is the oven vent which blows all the fumes from melting polyester to the outside world.  I'm still wisely wearing my ventilator mask but I don't have to brave the elements any longer.  There's also no wind sapping the temperature of my soldering irons.

 

(Above:  Detail of Large Stained Glass XCI.)

 

Melting inside was important this time.  Why?  Well ... it was cold and rainy outside and I really needed to get this piece done!  Steve and I planned to deliver it to the Grovewood Gallery last Friday.  Friday was the first day of the annual Arts and Crafts Conference in the Omni Grove Park Inn ... just next door to the gallery.  Thankfully, I really wasn't rushed or dodging bad weather!

 

(Above:  Detail of Large Stained Glass XCI.)

 

Steve and I had a great time looking at all the Stickley and Roycraft furniture as well as the work of various contemporary artists who still work in the Arts and Crafts style of yesteryear. There was a gorgeous, antique green ceramic vessel ... with a $16,000 price tag but there was also a little, wooden carved bear for $10.  Almost every booth included beautifully stitched table runners. Lusterware and hammered copper caught my eye.  One area was filled with Japanese woodblock prints.  Between sterling silver jewelry and wrought iron chandeliers with stained glass panes, there baskets and leather bound books and even carpets.  Below are just a few of the photos I snapped.

 

 

Large Stained Glass XC

 

(Above:  Large Stained Glass XC.  Framed:  63 1/4" x 23 1/4".  Layers of fused polyester stretch velvet on recycled black packaging felt with free-motion machine embroidery and unique melting techniques.  Click on any image to enlarge.)

When I created the first four pieces in this large format, I never thought they would sell.  I needed them for my installation Blues Chapel.  That was way back in 2006.  (Click HERE for the second blog post I wrote!  It includes a photo of those first four Large Stained Glass fiber artworks!)  The facts of the matter are that I started this blog because I wanted to hold on to that early installation, share it, have a place on the "world wide web" where it might live forever.  At the time, I thought that Blues Chapel would be the best work I'd ever make.  Little did I know that there would be other installations, an ever widening range of artwork in my future, and that twenty years later I'd actually need to make more in this series.

 

(Above:  Detail of Large Stained Glass XC.)

There were two Large Stained Glass pieces at the Grovewood Gallery just a month or so ago but both now have permanent homes.  I was asked to "bring more"!  It's always a good day when one's gallery requests more work.  It meant that I needed to get to work!

 

(Above:  Detail of Large Stained Glass XC as seen from an angle.)

I always make two when approaching this large size.  Why?  Well ... for this work, Steve has to cut a 60" x 40" piece of anti-reflective UV glass in half ... 60" x 20".  Half is for one piece, but there's no great way to store the other half!  It's up to me to make two at a time just to prevent a big, expensive piece of glass from getting accidentally broken.

In Box CDLXXII, donation to the SAQA Spotlight Auction

 

(Above:  In Box CDLXXII.  Approximately 7" x 5" and mounted to 10" x 8" white mat board. Click on image to enlarge.)

For the past few weeks I've had an item on my "to do" list which just didn't seem to get done until today.  This procrastination was unintentional because I really am in debt to SAQA (Studio Art Quilt Association).  I've learn so much from this international organization and have had several pieces accepted into their global juried shows.  I've written for the quarterly Journal (and was even paid for my writing!)  In the past, I've been a speaker at the annual conference.  Truly, I get much more out of my membership than I pay for!  Every other year, the conference is an in-person event.  This year, it is virtual but every year there's an on-line fundraiser called the Spotlight auction.  Art quilters all over the world contribute pieces that are put into provided 8" x 10" pre-cut mats (though mine is submitted "open" on the same sized mat board.)  Every year there is a deadline too.  Of course I wanted to donate but I almost missed the deadline.  Thank goodness I buckled down and finally made this piece!  

The Degenerate Art II Exhibition

 

(Above:  The Caution Tape Entry to the Degenerate Art II exhibit at Stormwater Studios in Columbia, SC.  Click on any image to enlarge.)

I'm well overdue with the blog post but, honestly, I've been busy and more blog entries are soon to be written.  For now, however, I'm happy to report that the Degenerate Art II exhibit at Stormwater Studios in Columbia has seen plenty of traffic and sales!  It was my honor to be invited as the area's guest artist.  Why was I a guest artist?  Well ... apparently last year's show was by invitation only.  I was invited and created several pieces and my Reasons for Tears installation.  That show was also quite a success.  Jasper Project, the organization sponsoring this show were overwhelmed by local artists who weren't invited but would like to have been. They decided to make the second show a juried one ... only for artists living in the Midland counties of South Carolina.  I don't live there anymore. Yet, the group wanted an installation and knew I could create another one.  Thus, I was asked and became the "guest artist."  

 

(Above:  The Degenerates signing board and donation box just inside the Caution Tape Entry.)

This did present me with a unique challenge!  Create an installation.  Well ... I met the challenge and created two!  First was The Caution Tape Entry.  The show's title refers to "the Nazi Party’s 1937 Entartete Kunst (Degenerate Art) exhibition in Munich at which more than 650 pieces of Modernist art were haphazardly displayed alongside graffiti and mocking text labels with the goal of denigrating and ridiculing the art and artists."  My installation cautions people that they are entering such an exhibit!  Right inside the double glass doors is a box for donations and a signing board.  Everyone coming has the option of leaving their name as a "degenerate" (and leaving a dollar or more supporting the Jasper Project.)

 

(Above:  Middle Finger.)

I thought of the signing board shortly after making Middle Finger. The organization allowed artists to submit statements with their work.  This one (like all my other work for this show!) certainly didn't need any additional explanation.  I was thrilled to finally find a use for the skull embellished frame that I have saved for a couple years ... knowing something would finally be perfect of it.

 

(Above:  Trump is a Scrabble Game.)

The first piece I made (within an hour of receiving my invitation to be the show's guest artist) was Trump is a Scrabble Game.  It was made on a Wednesday after returning from the Pickens County flea market where I scored four, old Scrabble games!  Because I now live more than two hours from Columbia, Steve and I were unable to attend the opening reception, but I got a private Facebook message from the nice man who wanted to let me know that this one is now in his permanent collection!

 

(Above:  Democracy Endangered.)

Recently some vintage cross-stitch patterns were donated to my stash.  They're the kind that has little blue printed "X" marked on plain weave cotton.  One was this eagle.  I haven't stitched a counted cross stitch in decades.  I haven't stitched one of these printed cross stitch patterns since I was a Brownie Girl Scout in the first grade ... but I knew I could do something different!  The skull patch had to be ordered because it was "out of stock" at Walmart but it certainly changes it!  I carefully cut the semi-circle mat and then collaged the words using vintage and antique letters.

(Above:  VOTE !  Framed:  21 1/2" x 17 1/2".  Gelli-plate printed hand print with collaged letters.)

While stitching Democracy Endangered, I had plenty of time to think about what else I could make but ... more importantly ... what I really wanted to add to the conversation about our current political situation.  I asked myself if I were just complaining through my artwork.  What could I really do that might make a real difference?  The only thing I could think of was encouraging everyone ... no matter what their political feelings might be ... to VOTE!  So ... when playing around with my new Gelli plate, I used a pattern of my own hand print to print this piece. The paper was fused to thicker watercolor paper and the hand print's outline was free-motion stitched.  Finally, I collaged the word "VOTE" onto it.  Before framing, I scanned it.  By that time, I'd thought up a great installation!

(Above:  The two sides of each voting unit with more units drying on the floor of my sanctuary/studio.)

Last spring Evelyn Kochansky died just days shy of her 105th birthday.  Evelyn was a lifelong democrat, born the year women got the right to vote, and never missed casting a ballot.  Her daughter Ellen Kochansky gave her mother's very full drawer of gloves to me. I used almost all of them for this installation called Show of Hands.  Each one was gelled onto an 8" x 10" piece of mat board with a little sign urging people to vote.  The other side was a copy of my Gelli plate printed hand print.  American Girl pant/skirt hangers were used on the top.  (I originally bought the hangers for my 40th wedding anniversary show!  They were how I mounted the selfies I took in all forty collected wedding gowns!)  It didn't take much time to make sixty units.

 (Above:  Me installing Show of Hands at Stormwater Studios.)

It took several hours to install them in the same hallway that Reasons for Tears once hung! I'm very pleased with this work and hope that people seeing it will remember that the midterm elections are very, very important!  Below are additional photos of the installation.  CLICK HERE for a short video.