Wednesday, April 22, 2015

The Gossip Game at Artista Vista


(Above:  Gossip, detail, my contribution to The Gossip Game at Gallery 80808/Vista Studios for Artista Vista.)

Every spring the downtown arts and cultural district here in Columbia (known as "The Vista") has an art crawl called Artista Vista.  This is the twenty-fourth year.  My studio is located in a cooperative artist setting that is one of the event's anchor galleries.  There are twelve artists and together we mount a show every year for this event.  It is sometimes difficult to select a title, a theme, or have new work that might come together in any sort of cohesive way.  Why?  Well, the group is quite diverse.  We've got a non-object abstract painter, a stone carver, a realist landscape painter, a more impressionist painter, a figurative drawer, a collage artist, and several other artists with different media and approaches ... including me, a fiber artist.  So, last year a project was selected early.  It is called The Gossip Game.  It took all year to complete!


(Above:  Sunset, The Envious Fox by Charles Courtney Curran.)

The State Newspaper wrote a wonderful introduction to the project:

Vista artists are playing a game of Gossip.

Instead of passing a phrase around in whispers, the local painters, sculptors and printmakers are passing around their own works and creating new pieces inspired by those of their peers. The circle started with Charles Courtney Curran painting “Sunset, The Envious Fox,” currently on exhibit at the Columbia Museum of Art and selected by Chief Curator Will South. Artists “responded” to the piece preceding theirs in the series, beginning with “non-objective” abstract painter Eileen Blyth responding to Curran’s impressionist work.

Twelve artists worked one month at a time over the period of a year to create a collection of pieces inspired by each other, but still embodying each artist’s unique style.


Read more here: http://www.thestate.com/entertainment/local-events/article19164054.html#storylink=cpy

(Above:  Eileen Blyth's impression of the original Curran painting.)

Each of us had only three weeks to complete our piece.  Only Eileen knew what the original artwork looked like.  Why?  Because, like the childhood "Gossip Game" (also known as "Telephone"), the next artist was only given the prior artist's work for viewing.

(Above:  Michel McNinch's piece.)

Michel McNinch saw rocks and water under a cloud filled sky.


David Yaghjian saw Odysseus and the sirens in the rocks and water.



Pat Gilmartin saw the sirens' songs just out of reach.


Laura Spong responded to the forms and colors ... but added an abstraction of the music ... and "accidentally" painted what might have been an animal figure.



Heidi Darr-Hope continued, almost in a spiritual way, to bring back the notion of a life presence and added text.



Robert Kennedy simplified the shapes into clear cut figures ... maybe the fox and the solitary bird reappearing?



Laurie MacIntosh refined the two animals with calligraphy like additions and scribbles of text.



With Laurie's permission, I photographed her work and altered it in Photoshop.  The resulting image was uploaded to Spoonflower, printed on fabric, and mailed back to me.  I layered it was a piece of recycled felt and did the free motion stitching before handing my work to my mentor, Stephen Chesley.


Stephen Chesley returned to the small portion that was making its way through the group ... the "envious" fox and his companion bird had truly reappeared ...



... but were finally abstracted back into two, simple shapes in Sharon Licata's stone carving.

These are the pieces that are hanging ... one after the other in proper order ... at Gallery 80808/Vista Studios for tomorrow's Artista Vista art crawl.


(Above:  The original Curran painting hanging at the Columbia Museum of Art.)

This project was an excellent way to partner with the Columbia Museum of Art.  In fact, a week or so ago found several of us (including me) talking to the lunchtime public tours.


(Above:  Laura Spong talking to the lunchtime museum tour group.)

Lots of people showed up to see a couple of the responding work and hear each of us talk about the project.  Many were totally fascinated by the fact that I could have a digital image printed on fabric ... using the Internet for ordering!
 

(Above:  The image I created for Spoonflower.)

I don't waste any of the fabric.  Because the image I created didn't quite fill the yardage, I added a strip to the left-hand side.  That area was obviously cut off when I stitched the piece for the Gossip Game.  I used it (and another strip from another order) to create a halo for another art quilt, Guardian Angel.  


(Above:  Being interviewed by WACH-Fox early morning television.)

Yesterday morning I opened Gallery 80808/Vista Studios at 5:15 AM.  Why?  Because I live the closest!  By 5:30 Laurie MacIntosh, Stephen Chesley, and the Vista Guild's PR person Katie Alice Walker were ready for live segments filmed for WACH-Fox morning news program.  I hope this means that lots of people will be coming tomorrow for Artista Vista.  I'm not sure what our group will think up to beat this project for next year's spring event!

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art work. 

Monday, April 20, 2015

Stitching Together is now in the McKissick Museum's collection!

(Above:  Stitching Together.)

Last night was wonderful.  Steve and I anticipated a great evening.  After all, it was the Nat Fuller Feast at the McKissick Museum.  We were invited to this elusive meal because my piece, Stitching Together, was on view in the juried show Crafting Civil (War) Conversations.  There were several newspaper articles last week, including this paragraph from The State Newspaper:

In March of 1865, Nat Fuller hosted a dinner in Charleston at his renowned restaurant, The Bachelor’s Retreat, that has come to signify the end of the Civil War and the beginning of a new civil order. What makes this dinner, or Fuller’s Feast as it has been nicknamed, unique is that Fuller was a former slave and his guests were made up of white old-Charleston society as well as African-American freedmen. It marked the first time that blacks and whites sat together socially at the table.  (Full article.)

The menu included a crab and cabbage cannelloni, Terrine de Foies de Volaille (chicken pate), stuffed quail, potato-rutabaga gratin, red beetroot granite, and roasted Lowcountry cobia, oyster risotto, fried spinach and grapefruit vinaigrette ... plus dessert and champagne.  There were mint juleps before the meal, which I tasted and passed on.  I don't like bourbon no matter how awesomely smooth everyone said it was!  Thus, I was totally sober when the announcement for purchase awards were made.  Stitching Together is now part of the museum's permanent collection!  I'm totally thrilled!  The blog post about this piece is HERE.  Plenty more photos too!

Read more here: http://www.thestate.com/living/article18515456.html#storylink=cpy

Wednesday, April 15, 2015

Guardian Angel


(Above:  Guardian Angel. 38" x 30". Image transfers on fabric, vintage coverlet scrap, antique glass buttons and newer buttons, beads and sequins, trim, and a single artificial flower collected from a cemetery dumpster; self-guided, free-motion machine embroidery and dense hand stitching.)

I think I saw Jane Dunnewold's call-for-entry on an Internet fiber group but I'm not really sure now.  It doesn't much matter.  Instantly I liked the title:  Digital Alchemy.   I'm sure these two words prompted me to click a link to Jane's on-line submission information where I read:

Digital fabrics, printed on-demand by companies like Spoonflower.com, offer opportunities for self-expression quilters have not accessed before. This exhibition, sponsored by Spoonflower.com, seeks to showcase the myriad and exciting ways quilters use digitally printed fabrics.

Well, I've used Spoonflower to print a few of my digital photographs on fabric. There's a "learning curve", of course.  Yet, I figured out how NOT to waste a single square inch of ordered fabric by filling the available pixels with images of texture.  Once, I ordered yardage with the three images pictured below.

 (Above:  The image I submitted to Spoonflower.)

I used the image on the left to create an art quilt called The Girl With the Upturned Shell ... because that's what this angel sculptural is actually called. (February 2014)  I blogged about the work HERE ... including this paragraph:

I love Savannah's Bonaventure Cemetery.  It isn't the oldest in the area but it is undoubtedly the most hauntingly beautiful.  The vast expanse is filled with Spanish moss covered ancient oaks, blooming azalea, and an aura of pure Southern Gothic.  The place is best known for its "Bird Girl", a sculptural grave marker that graced the cover of John Berendt's best-seller Midnight in the Garden of Good and Evil.  That statue has since been removed to the Telfair Art Museum ... but it wasn't my favorite anyway.  The Baldwin family's plot has "The Girl With the Upturned Shell".  There are always fresh flowers in her vessel.  She is simply gorgeous and I had plenty of nice photos.

(Above:  A portion of a recently ordered image from Spoonflower ... as seen on the Spoonflower website when uploading and working with their on-line software.  I'll be blogging about the piece made from this order either later this week or next week ... as the work is part of an exhibition at Gallery 80808/Vista Studios called "The Gossip Game".   More later!)

Please notice that I added portions of other images to fill the yardage being printed by Spoonflower.  So ... to make the new work, I used the other image of The Girl with the Upturned Shell and then created a unique halo for her.  The halo was constructed using clipped pieces of fabric that were printed along the edge ... to fill the available yardage on my order.  (If you have to order a full yard or even two ... why not use every inch of it?)  The image of a rusty tin wall came from Castle Dome Ghost Town in Arizona.  The edge of the other order featured a detail shot of the naturally rusted and dyed fabric used in my Night of Terror Installation.  Together ... these rusty and slightly slate blue tinged textures became the halo.

(Above:  Guardian Angel, detail.)

I had to work fast ... really, really quickly!  Why?  Well, I saw the call-for-entry and envisioned this piece only about six weeks before the deadline.  I knew I wanted the entire background stitched with dense running stitches, every quarter of an inch or closer together.  I knew that i wanted to fill the area around the angel's head with clear seed beads.  I knew I had the most beautiful antique glass buttons for the edge of the halo.  In addition to the free-motion machine embroidery (which took less than a day), I had LOTS and LOTS of handwork to do.  This piece was stitched mostly while traveling ... in the rental cargo van going to and from the American Craft Council Shows in both Baltimore and Atlanta and everywhere else.  It was my evening handwork for weeks.

(Above:  Guardian Angel, detail.)

I'm happy to report that the piece was accepted into Digital Alchemy, a show that premiers at the Festival of Quilts in Houston, Texas, October 23 - November 1, 2015.  In the meantime, it has also been accepted into the 36th Annual Juried South Carolina Artist Competition at the Pickens County Museum of Art and History, April 25 - June 11, 2015.

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber artwork.



Monday, April 13, 2015

Book I - VIII, Made during Open Studios


(Above:  My "home studio" after a busy weekend!  Click on any image in this blog post to enlarge.)

Last month I spent two days organizing my "artist shipping center" (aka "junk room" and location for storing everything from the 10' x 10' Pro Panel booth to various art installations) as well as my "home studio".  Last week Steve and I put in three days of intense scrubbing/sweeping/scouring/filing/pitching/pricing and all around physical labor ... all of these in anticipation of a big weekend. 

Well ... it's now over.  The weekend was wonderful.  Between the Elmwood Park Tour of Homes and Gardens and the 701 CCA OPEN STUDIOS events, we were slammed with visitors.  Max, our cat, played host, greeting everyone on the porch and insisting he be pet.  A nice high school student collected visitor zip codes (for the organizations' marketing and grant writing needs) just inside the front door.  Jasper Magazines, a free arts publication here in Columbia, were distributed while Steve and I manned the two floors.  It was lots of fun.

(Above:  Book I. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, two old locks, a  chain, a key, assorted hardware.)

Of course, the main objectives for OPEN STUDIOS are to allow people into an artist's creative space, to show where art is made, to give a glimpse into the process, materials, equipment, and environment of a working studio.  My "home studio" is specifically for making 3D found object assemblages.  It is NOT my fiber studio.  There is no sewing machine ... but there really needed to be "something" that resembled the work I make in this space.  So, I set out an idea for a new series.  It's been rather difficult NOT to go into the space and actually MAKE the work ... until this weekend.  As soon as I started, everything just flowed.  By Sunday evening, eight pieces were hanging on the wall.  At least five more are laid out and waiting for my attention.  It was so much fun to finally screw and nail these pieces into existence! 

 
(Above:  Book I, detail.)

The work went quickly because I had everything ready to go, including a template for drilling holes in the covers of these antique Swedish book covers (circa 1900).  I'd already zigzag stitched plenty of cord to lace through the holes.  Sets of found objects sat waiting, side by side.




(Above:  Book II, 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, two old door-knob plates.)


(Above:  Book III, 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, two old screw-in hooks.)


(Above:  Book IV. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, two old bronze-toned molds and two small, decorative feet (?) ... not really sure what these things are.)

(Above:  Book V. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, and two, small, old, copper-toned door-knob plates.)

(Above:  Book VI. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, and some strange, accordion-folding measuring device.)


(Above:  Book VII. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers; zigzag machine cording; a match stick covered box in which were placed a clothespin, sewing machine bobbin, buttons, antique business check, circa 1890, and key all covered with epoxy; a tiny jewel box collaged with an old postage and ration stamp in which were placed a Mason's pins, a watch face, cross, and nails all covered with epoxy; and a harmonica.)

(Above:  Detail of Box VII.)

This particular "book" was made using two little pieces into which I poured epoxy ... over two years ago.  I'd totally forgotten about them ... until they were uncovered by the cleaning effort!

(Above:  Detail of Book VII.)


(Above:  Book VIII. 9 1/2" x 13 1/2" plus the dangling cord.  Antique book covers, zigzag machine cording, and an old rusty trap.)

This last piece was made using an old 110 conibear trap that my Dad gave me.  I thought I needed it for another project but ended up using a large rat trap instead.  (That piece is called, A Difficult Decision.)  So, finally, this cool thing is now "art"!  Thanks, Dad!


(Above:  The cording I made for these books.)

So ... how did I finish these pieces?


(Above:  The reverse of each "Book".)

I cut leftover pieces of picture framing moulding (used on the 107 Decision Portraits when they were framed).  The moulding was cut "on the side" ... exposing the "lip" ... and allowing the "face" to be glued to the reverse.  Every piece also has at least a few elements screwed from the front straight through the back and into the moulding.  Thus, these works are really staple.  Nothing is going to "fall off".  All the attached elements are either screwed in place for stitched in place with an extremely thin, flexible beading wire.  To cover up all these attachments, I placed a piece of acid-free foam-centered board into the moulding's exposed lip and screwed on two mirror hangers and a wire!  Presto!  On the wall ... perfectly flat!  Soon I'll have more to share.




Friday, April 10, 2015

A Walk thru Mouse House



After three days for scrubbing/sweeping/sorting/filing/vacuuming/pitching/scouring/pricing/etc., Steve and I are READY for both the Historic Elmwood Park Tour of Homes and Gardens, tomorrow, Saturday, April 11th from 10 - 4 and the 701 CCA OPEN STUDIOS, tomorrow, from 10 - 6 and also on Sunday from noon - 6:00!  The house and business will likely not be this neat and tidy until we do this sort of thing again ... which might be "never"! LOL!

I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art!

Friday, April 03, 2015

Shadow's fur



This is the start to a hair-brained idea ... dry felting all of Shadow's cat fur into a unique "art quilt top". I hope it works. Shadow was our much beloved "shop cat", unafraid of toddlers, unable to always successfully jump up onto the sales counter, often confused by the other cat, and absolutely afraid of the outdoors ... even when she was only on the front porch. She was thirteen years old when she died ... but still the "baby". She is missed ... but her fur just might make a very unique art quilt!



This photo was taken years ago. Shadow always had to sit on exactly what I was doing ... including making herself comfortable on a borrowed Boston Ballet tutu worn by Mathias' dance partner back in 2006!

Thursday, April 02, 2015

Morning

(Above:  Morning, mixed media on printmaking paper.  Unframed:  30" x 22 1/2"; framed: 39" x 31 1/2".  Click on image to enlarge.)

Recent blog posts include entries describing the task of cleaning/sorting/purging/organizing/tackling two absolutely disastrously messy rooms at Mouse House ... where I both "live" and "work".  One room now functions as a "shipping center" with plenty of space for "installation art storage".  The other is my "home studio", a room that once functioned as a space for 3D assemblage art and has been reclaimed again for that purpose.  While pitching piles of "stuff" in this studio, I came upon a roll of printmaking paper.  I'd taken it to the Columbia Museum of Art a couple years ago when attempting life drawing with one of the museum's affiliate organizations, a group called "About Face".  I went weekly for several months.  I tried watercolor pencils and crayons, charcoal, ink, and pencil.  I wasn't very good but I also didn't totally "suck" at it.  Most importantly, I wasn't passionate about drawing at all.  Eventually I stopped going.  I rifled through the stack of sketches and tossed all but one.  I sort of liked the expression on this model's face.  Later, the paper was mounted to an old damask tablecloth.  I used a framing product called Fusion 4000 in my 36" x 48" Seal dry mount press.  Carefully, the excess tablecloth was cut away from the edges ... leaving only the paper to be seen.  There was a spot on the paper, something like a drop of coffee.  I almost threw the entire thing out.  Hair-brained idea!  Coffee!  There was still a little left in the pot upstairs ... and it got poured from a distance of about four feet onto the surface.  I liked what I saw and left it to dry.  The next day I added a few simple lines of free-motion machine stitching with a variegated cream-colored thread.  This is the result!


(Above: Morning, detail.)

Steve like it so much that we decided to frame it.  I'll show it for Artista Vista, an annual downtown Columbia art crawl!  I'm sort of nervous ... because I've never really exhibited anything remotely like this, certainly not a drawing of any sort.  I know there are many problems with proportions but overall ... the work does express my morning mood, especially before drinking coffee!

By the way, my summer schedule has now been set!  After an art residency at Anderson Center in Minnesota (May 1 - 15) and teaching at the Craft Alliance of St. Louis (May 16 - 17), I'll drive north for an art residency at Wormfarm Institute, an organic farm in rural Wisconsin.  From there I go directly to a third art residency with Ellen Kochansky at the Rensing Center in Pickens, SC.  Steve will meet me there in order to fly off to Scotland for our son's wedding.  Basically, I won't be "home" for two-and-a-half months.  This will likely mean that my "home studio" will stay sorted and tidy! LOL!

Monday, March 30, 2015

The Virgin of Guadalupe and more tagged keys


(Above:  The Virgin of Guadalupe, 12" x 12", a SAQA donation quilt. Digitally image transfer with self-guided, free-motion machine embroidery and hand beading; buttons.  Click on any image to enlarge.)

This is my donation for the 2015 SAQA (Studio Art Quilt Associates) annual on-line auction.  All the works are 12" x 12".  The bidding begin on September 18th.  Publicity will start soon ... as April 1st is the "early bird deadline" for possible inclusion in the promotional brochures.  My piece is a digital transfer of a photo I took in an Arizona cemetery.  It features the Virgin of Guadalupe.  Self-guided, free-motion machine embroidery was done before the hand beading.  Buttons line the edge.

Last weekend I also finished another, much larger art quilt.  I've named it Guardian Angel.  I can't share it yet. Why? Well, it was made for Jane Dunnewold's call-for-entry, a juried show called Digital Alchemy.  I printed the guidelines well over six weeks ago.  It included this rule: Please don't share work in process online, in bogs, or on websites, or via social media like Facebook, until after acceptance and rejection notices have been delivered.

I hate not posting my work when it has been completed.  My blog functions as a visual inventory book, something that coordinates nicely with my written inventory book.  I can't guess the number of times I've googled my name and title of a work ... just to figure out the date when it was finished.  The date is how I find a piece in my hand-written inventory book.  The system works perfectly ... except when there's a silly rule that means a work is posted months after completion!  (I did notice, however, that the "silly rule" is no longer on Jane Dunnewold's website.  I'll email her to see if the ban has been lifted!  If so, I'll post Guardian Angel later this week!  Fingers are crossed!)

 
(Above:  The Virgin of Guadalupe, reverse.  Vintage embroidery on a scrap of a vintage pink linen tablecloth with free-motion embroidered words.)

This is the reverse of my SAQA donation art quilt.  The hand painted and embroidered cat was cut from a vintage table runner.  The runner featured two cats, one on each end.  So, I might have another cute reverse on a future piece!  The pink linen came from a lovely (though slightly stained) vintage tablecloth.  Most of the tablecloth was used on the revers of Guardian Angel.

(Above:  Another group of tagged keys ... on my studio's ironing board ... in front of The Wall of Keys.)

I am thrilled to announce that The Wall of Keys is going to England.  This installation will be part of the Through Our Hands exhibition at The Festival of Quilts.  In anticipation, I've made another grouping of tagged keys ... to add to the over 1200 already on my studio wall.  Making the trip even more wonderful is the fact that I'm presenting two lectures!  On August 6th from 11:00 - 11:45 AM, I'll give an expanded version of my TEDxColumbiaSC talk, Precious.  On August 7th from 12:15 - 1:00 PM, my presentation is called Beyond a Series: Taking Work to the Next Level.

(Above:  The new tagged keys!)

I have other great news to share too! Ancestors in a Fiber Vessel was among the 33 pieces accepted by juror Jon Eric Riis for inclusion in Velocity of Textiles, a Chattahoochie Handweavers Guild's exhibition.  Handed Down was accepted into the PAQA-South juried show, Art Quilts Reminisce.  I got another art residency!  I'll be in the "Oregon Outback" (aka Lake County, near Summer Lake) at PLAYA from October 5 - 30th.  Plus, Threads: Gathering My Thoughts was accepted for a solo show at the Mesa Contemporary Art Museum for April 29 - August 15, 2016!  I'm OVER THE MOON!


(Above:  A ball of newly made cording ... to replace all the cording I used on the recent batch of tagged keys.)

Finally, I replenished the cording used for all the newly tagged keys.  I love making cord ... and it is a good thing because the art residencies to which I've been accepted were based on a proposal to make new fiber vessels ... exploring the concept of containment.  To make a fiber vessel, one must first make lots and lots of thicker cording!  I have my work cut out for me!

I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art.

Thursday, March 26, 2015

Prayers for Mary Pat

 (Above:  Recycler, Decision Portrait Series.  2009.  Click on any image in this blog post to enlarge.)

Back in 2009 I was hard at work creating the Decision Portrait Series.  Eventually there would be 108 works and many solo shows.  The series is conceptually strong, deeply emotional, and includes many powerful portraits.  One of my favorites has always been Recycler, depicting Mary Pat Baldauf, the city of Columbia's Sustainability Facilitator. (To read more about Mary Pat the Recycler, CLICK HERE.) Last week Mary Pat suffered a brain aneurism.  Her mother and sister Beth have been at her side in the hospital since then.  Beth has been posting updates on Facebook to a stunned Columbia ... because ... well ... Mary Pat knew EVERYONE.  Everyone has been impacted by Mary Pat's recycling efforts but also her personal transformation shared through cute hair cut photos and other Facebook images.  (Mary Pat doesn't really like the portrait I stitched anymore.  Why?  Well, taking advantage of the city's fitness programs, she lost 100 pounds since 2009!)

 (Above:  Mary Pat's most recent Facebook profile photo.)

This is the Mary Pat that Columbia is praying for.  There's a benefit recover fund and hundreds of people praying all over the country and beyond.  Not everyone, however, can give money.  Not everyone feels comfortable visiting a hospital.  Not everyone knows what might be appreciated ... but a few of us could guess!  My friend Dolly Patton had an idea, something that anyone might do and something that Mary Pat would absolutely love.  This idea is also meant to support Beth, their mother, and their extended family.  Dolly contacted me and our mutual friend Margaret Neville.


So ... what's the idea?  Well, Dolly envisioned "a book" of well wishes, prayers, favorite photos of Mary Pat, great inspirational quotations (Mary Pat LOVED these sort of things), shared stories, and any other words/art/messages/support.  She and I brain-stormed.  Dolly and Margaret brain stormed.  The plan was put into action.  I cut dozens and dozens of 8" x 10" mat boards.  All sorts of pretty colors.  I created a "template" for drilled holes.


The holes are 1/2" from one long edge.  One hole is in the middle.  The other two are 1" from either short end.  I carefully aligned a pile of mat boards, clamped the template on top, and drilled the holes.



I used 2" binder rings and made three books!  These books can be taken apart ... allowing more than one person to create "a page" at the same time.  People in far away places can create their special page on any 8" x 10" mat board (or recycled cereal/food box) and mail them for inclusion.  We can add more "pages".  We can make more "books".

To participate, just go to Margaret's wonderful business and make a page for Mary Pat (or mail yours!):



 The Mad Platter. 


  • 3101 Millwood Avenue
  • Columbia, SC, United States 29205
  •  (803) 771-8080
  •  Hours of Operation
    Sundays - 1 - 6 PM
    Mondays CLOSED
    Tues - Fri 10 - 9 PM
    Saturday 10 - 6 PM

(Above:  Altered cereal box with the words:  Love. Prayers for Mary Pat from Steve Dingman with Love from Susan Lenz.)

I had the honor of making the first page.  I cut Steve's cereal box to 8" x 10" and collaged it on one side ...


... and the other!


(Above:  Me, Margaret, and Dolly on the second floor waiting area of Palmetto Richland Memorial Hospital.)

Here we are ... three book ... ready to be filled with PRAYERS for MARY PAT.
I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber artwork.