Friday, October 20, 2017

Busy, busy Thursday and a Transparency Update!

 (Above:  Anonymous Ancestors, my solo show at USC Upstate's "Gallery on Main" during the third Thursday art walk and the Tri-State Sculptors Conference.  Click on any image to enlarge.)

The reception for my solo show, Anonymous Ancestors, was last month during Spartanburg's "Third Thursday" art walk, but I was invite back again this month ... to give a gallery talk!  The place was very, very crowded because nearby Converse College is hosting the Tri-State Sculptors Conference and the art walk (along with my gallery talk) was on the program!  It was quite an honor!

When Steve and I arrived, there were people already gathering ... enjoying the photos, albums, even sitting in the furniture.  It made me very happy to see the installation truly functioning as if a real sitting parlor!

My husband Steve took these photos while I talked to students, artists, and people who simply came for the art walk.  He didn't get any good images during the gallery talk because he was standing in the very back, next to the door ... where his only view was space between the Grid of Photos and its shadows on the wall.

I'm really pleased with the way this piece looks because part of my concept was to suggest that the hundreds of anonymous photos are fading away into history ... just like the traces of shadows behind them.

 (Above:  Wall of Ancestors, Polio is a Bitch.)

I don't think I'll ever tire of this installation.  I'm still making more work ... hoping for more opportunities to share it.  To get ready for my gallery talk, I made this one.  Steve suggested the words.  I couldn't improve upon them.  Polio really is a bitch.

(Above:  The filmmakers at the 2nd Act Film Festival 2017 ... including the filmmakers' choice award winner, Smith Austin.)

If I hadn't been in Spartanburg, I would have been at the 2nd Act Film Festival in Columbia.  Why?

 (Above:  2nd Act Film Festival Filmmakers' Choice Award.  Framed:  11 1/2" x 9 1/2".  Anonymous, vintage negative, three film slides from my travels in Europe during the 1970s, found Super-8 reel, collage of clipped letters, and a key tagged with the phrase:  Nothing Happens Without Light.)

Why?  Well, a couple months ago I was asked to create the award.  This is what I came up with.  Had I been in town, I would have really enjoyed seeing the films.  The festival provided filmmakers the first and third acts (one page each) of a script.  Each filmmaker wrote and created the SECOND ACT.  Many entered; ten finalists were selected by a professional panel for last night's event.  It would have been so much fun to have been there!

 (Above:  The Transparency Project, in progress.)

Some times, there are just too many things to do.  Perhaps that is why I've no longer receiving any more suggestions for The Transparency Project.  (CLICK HERE to see my initial blog post about this artwork.)  Thus, I am updating it's progress.

(Above:  The Transparency Project, in progress.)

I have used just under two-thirds of the little corked jars.  I need more ideas to fill them. Thank you to everyone who sent a phrase.  You can still send more!  Please leave a comment here or send you suggestions to me at

So far, these are the phrases inside the jars:

Lied and got away with it
Hide candy in my desk drawer
Cheated on my first husband with whom I shared my work commute
Snaked from the grocery bulk bins
Fed my dog cheap dog food
Lied to my doctor about the amount of wine I drink
Didn't exercise
Claimed to be a virgin several times
Chose a candidate with "the right background" over qualifications
Billed an insurance company for a test not performed
Pretended I didn't get an e-mail
Pretended I didn't get a text message
Knowingly gave a guy the wrong phone number
Went twice for a free promotion
Smoked pot during a work break
The check is in the mail
Had a margarita as lunch
Left the bar when I spotted my blind date
Claimed to be 47 for several years
Called in sick when I wasn't
Cheated on a test
Love to gossip
Spread rumors I knew were untrue
Returned a damaged library video
Didn't stop after hitting a dog
Made a prank telephone call
Falsely exaggerated family stories
Complimented someone's art work that looked like crap
Cried real tears only for affect
Found a wallet and didn't return it
Checked my email while driving
Got drunk and kissed a stranger
Urinated on a tree in a public park
Shot a gun at a passing car
Have a crush on a married friend
Vegetarian ... but tried veal
Lied to get out of a meeting
Stole a library book
Ignored the item the grocery cashier didn't get scanned
Committed adultery in my heart
Ran a red light on purpose
"Forgot" to pay a bill
Didn't report my rape
Believe in angels
Don't shave my legs in the winter
Don't shower every day
Leave dirty dishes in the sink overnight
Bumped into a car and left the scene
Lied about my voting record
Hit my spouse
Falsely said "I love you" in order to have sex
Spent time in jail
How are you? I'm fine.
Egged a house
Drove drunk
Told a Polish joke
Belittled someone with special needs
Accepted a bribe
Didn't take NO for an answer
Didn't pay child support
Stalked an ex-wife
Stalked an ex-boyfriend
Peeked through the neighbors' windows
Used a fake ID
Sneaked into an R-rate moved when underage
Spanked my kids
Claimed a charitable deduction I never made
Let someone else take the blame
Stole liquor from my parents
Said "sorry" but held a grudge
Spray painted graffiti on a public wall
Bounced several checks
Jealous all the time
Flunked out of school
Littered at the beach
Blamed traffic for running late
Flipped someone "the bird"
Never repaid a debt

Wednesday, October 18, 2017

A Mother's Love

 (Above:  A Mother's Love, mixed media.  Found silver gelatin photograph, free-motion machine stitching, hand stitched gold buttons, metallic gold pencil, collage of clipped vintage letters, and artist- made frame with hand stitched buttons.  19" x 16".  Inventory # 4100. $295.)

I'm the fortunate recipient of all sorts of things, mostly other people's old yarn, crocheted doilies, scraps of fabric, keys, and wooden thread spools. But every once in a while, I receive other "treasures" like this silver gelatin photograph of a Madonna and Child stone sculpture.  I don't know who the sculptor was or the photographer.  I do know that professional photographer Molly Harrell gave me the picture.  At the time, she said, "I can't wait to see what you'll do with it."

 (Above:  A Mother's Love, detail.)

I really do try to use all the things given to me but often I can't remember "who gave what" by the time I use it.  This photo, however, seemed to haunt me.  I knew instantly that I wanted to add buttons.  Why?  Well, I'm not entirely sure but the notion of adding beads and/or buttons to a halo has always been with me.  It feels right. It is just the sort of appropriate embellishment for an icon ... at least any icon I'll ever make. 

(Above:  A Mother's Love, detail.)

The 14" x 11" photo was first fused to fabric.  I used a gold metallic pencil to create the aura around the Virgin's head.  Then I free-motion stitched the background before hand stitching the smaller, gold buttons.  Finally, I added tiny letters clipped from the October 1946 issue of Fortune Magazine.  (Unbelievably, Amazon and eBay list a copy at $125.  I paid quite a bit less ... as in under five bucks).  To finish the work, I built a very special frame and liner.  After drilling holes through the frame, I stitched larger, gold buttons onto it using button threads.

While I stitched, I thought about the criticism I received last May from a local arts administrator regarding my "Button Proposal".  I was told that I "romanticized my materials" and "didn't push the boundaries of my studio art practice."  (To read how I handled this criticism, CLICK HERE.)  Sure, the words hurt but the button artwork that started flowing out of it has been awesome!  Plus, I've now gone from romanticizing buttons straight to idolizing them! LOL!

Monday, October 16, 2017

Freiheit I and II

 (Above:  Freiheit I and II drying in the garage.  Click on any image in this blog post to enlarge.)

An idea for a new series surfaced months ago when I wondered about pouring epoxy (one of my favorite substances for experimentation) over the layers of polyester stretch velvet with which I normally work.  Experimentation happened over the summer as I created Celestial Orbs, an installation that is currently on view in my solo show at Waterworks Visual Art Center in Salisbury, NC. 

 (Above:  Freiheit I and II, framed and leaning against a big mirror in my home gallery.)

That installation went very, very well.  I learned a lot about sealing the porous surface of my material and the best way to pour the epoxy ... but I wasn't really satisfied.  Somehow or the other, I wanted MORE!  I wanted a series on which I could continue to work.  After all, the original idea wasn't really to make shiny circles but to pour epoxy over work that looked more like In Box CCLXXXIII.

(Above:  In Box CCLXXXIII and me ... back in January.)

When I made In Box CCLXXXIII, I knew I was channeling my inspiration from Gustav Klimt.  I didn't know if I could successfully emulate this piece but I wanted to try ... plus experiment with the epoxy. 

 (Above:  Freiheit I and II drying in the garage.)

The last week or so provided a bit time to try ... to start ... to seal the surface with fabric stiffener ... to glue the piece to mat board ... to attach them to stretcher bars ... and to pour the epoxy!

  (Above:  Freiheit I and II drying in the garage.)

Now ... photographing the shiny surface is really, really hard but I'm very, very pleased with the resulting work.  I have learned a few other things too.  Future pieces will manage to be the same size as one another, and I will not be gluing them to mat board and a stretcher bar.  Instead, I'm going to try Masonite. (There was some slight warping due to the moisture of the glue and the flexibility of the mat board.  I was able to solve this problem. But since I want to make even large pieces, Masonite will eliminate any future issue.)
 (Above:  Freiheit I.  Framed:  31 1/4" x 19 1/4". Inventory # 4098. $625.)

Naming this new series was hard.  My husband Steve and I will probably continue calling them "the Klimt-like" work but that is a terrible name!  (The explanation for this is in the blog post about In Box CCLXXXIII.)  I researched Gustav Klimt, the Wiener Werkstatt, and the Vienna Secession ... looking for a title, something suggestive of my inspiration without trying to imply a specific genre. 

 (Above:  Freitheit II.  Framed:  32 1/4" x 20 1/2".  Inventory # 4099. $695.)

For several days I considered Ver Sacrum, ("Sacred Spring" in Latin) and the name of the official magazine of the Vienna Secession, published from 1989 to 1903.  Something was just not right about it. 

  (Above:  Freitheit II, detail.)

This morning, I went back to my saved Internet sites.  Almost immediately I read: Der Zeit ihre Kunst. Der Kunst ihre Freiheit.  ("To every age its art. To every art its freedom.")  This is the phrase over the Secession Building in Vienna.

(Above:  The Secession Building in Vienna.)

Freiheit.  Freedom.  Love it!  I love the idea that my work is part of the 21st century but freely inspired by the art of the early 20th.  I love the idea that the artwork I so admire has the freedom to evolve under my sewing machine's needle into the art of today.  The notion of freedom isn't unique to the Vienna Secession.  It might easily apply to the freedom of changing my mind, changing my work, changing my materials.  Love it!

   (Above:  Freitheit II, detail.)

I also love the fact that the material is just slightly underneath the shiny surface.  It has the look of autumn leaves at the bottom of a puddle ... just out of touch ... almost gem-like.  I can't wait to make more!

 (Above:  Valerie Summers giving me a large bag of very carefully sorted letters clipped from magazines.)

I can't jump into production with this new series yet.  I've got other commitments ... like this past Saturday.  I demonstrated "How to Make a Fiber Vessel" at the Grovewood Gallery in Asheville.  It was so much fun.  I also brought a Large Stained Glass piece stapled to its stretcher bars ... ready to be melted.  It can be seen in the background of a video Steve shot.  (CLICK HERE to see the video of me stitching a fiber vessel.  I didn't even know Steve was filming!)  I've got to finish this piece and a couple others first.

 (Above:  Clipped letters donated by Valerie Summers!  THANKS, Valerie!)

The demonstrations went on all day.  I talked about my "Stained Glass" pieces and switched back and forth between my two Bernina sewing machines ... showing how I make cording from skeins of old yarn and how I make the fiber vessels.  One of the people who came was Valerie Summers.  I met Valerie in a workshop I taught at Arrowmont School of Arts and Crafts in Gatlinburg.  Valerie brought me an incredible box of vintage household linens and a big bag of letters clipped from magazines!

 (Above:  Wall of Ancestors: Her Today Gone Tomorrow, It's Never Too Late to Live.)

Valerie know all about my obsession with clipped letters.  She's even been to my solo show, Anonymous Ancestors, at the University of South Carolina Upstate's "Gallery on Main".  It's currently on view and I'll be there this Thursday to give a gallery talk at 6:00 pm.

  (Above:  Wall of Ancestors: Her Today Gone Tomorrow, It's Never Too Late to Live, detail.)

The gallery talk is during the monthly art crawl in downtown Spartanburg.  This month is particularly exciting because nearby Converse College is hosting the annual Tri-State Sculptors Conference this week.  Lots of artists are supposed to be out and about on Thursday night.

 (Above:  Wall of Ancestors: Life's Not Fair, Don't Grow Old.)

Like most of my series, I never quite end them.  Despite the fact that Anonymous Ancestors is in a gallery, I'm still making more work for it ... including these two pieces.  The ornate, antique frames came from Bill Mishoe's auction.  The letters were clipped from all sorts of sources, mostly vintage magazines and sheet music.  

 (Above:  Wall of Ancestors: Life's Not Fair, Don't Grow Old, detail.)

On these two pieces, however, I also included a phrase cut directly from pre-1945 Fortune Magazine advertisements.   "Don't Grow Old" and "It's Never Too Late to Live" didn't need their letter's clipped apart.  They are perfect as is!

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

Monday, October 09, 2017

A busy weekend!

(Above:  Signature block on In Box CCC ... as in THREE HUNDRED!  Click on any image to enlarge.)

I've been spending lots of time in my studio, in the garage melting new work, and in my frame shop finishing up each work's presentation ... but I've also been having fun outside the actual process of making art!  Steve and I had a busy Sunday ... going to a photography show that included a picture of me! ... and attending the South Carolina State Fair where I won an award.

(Above:  Scraps of polyester stretch velvet ... leftovers from making "Stained Glass" fiber artwork.)

First ... my artwork.  Lately I've been making work in my "Stained Glass Series".  There's four different sizes of work, each with an architectural name:  Lancet Windows, Lunette Windows, Windows, and Large Stained Glass.  I go through plenty of polyester stretch velvet when constructing these pieces.  All my velvet already has heat-activated adhesive ironed to the reverse.  (Brand name:  Wonder Under, Pellon 805).  There's time and money wrapped up in all the scraps.  Once the pile gets this size ...

(Above:  Polyester stretch velvet being cut into squares and rectangles.)

... it's time to switch gears!  It's time to cut the scraps into squares and rectangles ... and turn my attention to the "In Box Series."

 (Above:  In Box CCXCIX.  Framed:  19" x 15". $235.)

I've started this series in 2004.  At first, they were all sorts of different sizes.  Occasionally, there would be a variation ... like added beads or acorn caps.  Eventually, I settled on three different framed sizes:  19" x 15", 21" x 17", and 33" x 21".  Yet, I called them all "In Boxes" ... and the number surpassed THREE HUNDRED this week!

  (Above:  In Box CCC.  Framed:  19" x 15". $235.)

These new works will be headed to the Philadelphia Museum of Art Craft Show in November.  I've excited.  Scroll down to see the last two!

(Above: Black and White: Portrait Exhibition by Dalvin Spann and Lee Ann Kornegay. Opening night at 701 Whaley Community Hall.  Photo by Molly Harrell.)

Before finishing the last two, new In Box pieces, Steve and I attended the opening reception for friends Dalvin Spann and Lee Ann Kornegay at the Hallway Gallery inside 701 Whaley Street.  It was amazing!  There were performers, food and drink, and a very excited crowd looking at the various portraits.  Lee Ann, a 57 year old white female, took photos of ten interesting African Americans in our arts community.  Dalvin, a36-year old black man, took photo of ten interesting white members of our arts community ... including me ...

... laying on my studio floor atop my "palette" of polyester stretch velvet!  The fabric doesn't look as hideous as it really does in color!  Unbelievably, the zebra print I draped across myself is actually neon lime green and black with glitter! 

(Above:  Steve and me in the reception ... with a slide show in the background!)

The twenty portraits fit perfectly into the hallway gallery space and will make an excellent welcome for people entering the businesses and 701 Center for Contemporary Art which is on the second floor.  The show stays up through December 10th.  Yet, one of the most wonderful things about the reception was a running slide show featuring many of the images that were NOT framed in the hallway ... including one Dalvin shot of Steve and me in Mouse House!  I think I'll have to contact Dalvin to get a real print of this one!

(Above:  [When Women Were] To Be Seen and Not Heard. Mixed Media art quilt.  30 1/2" x 23" unframed; 33" x 25 3/4" framed.  Assorted 19th century copper-plate and steel engravings on heavy watercolor paper with hand-stitched shirt buttons.)

We left one art reception in time to attend another at the South Carolina State Fair.  Many artists would laugh at the notion of entering a "state fair" but here in South Carolina the award purse tops $24,000.  It would be silly NOT to enter ... especially since I live two miles from the fair grounds and there's no fee.  Each artist can submit two pieces.  One of mine won a $200 merit award!  I'm thrilled!

  (Above:  In Box CCCI.  Framed:  19" x 15". $235.)

After an exciting weekend, I finished the last two, new In Box Series pieces ... and am hard at work making other pieces.  I'll be sharing some soon!

  (Above:  In Box CCCII.  Framed:  19" x 15". $235.)

Thursday, October 05, 2017

Lancet Windows CCVI, CCVII, and CCVIII

(Above:  Lancet Windows CCVI, CCVII, and CCVIII.  Click on image to enlarge.)

In anticipation of November's Philadelphia Museum of Art Craft Show, I finished three more Lancet Windows.  Lancet Windows are my most popular size. Why?  Well, when my mother suggested something "long and skinny", she said most people have such a place in their homes. She must be right!  Thankfully, I love the design challenge.

The two geometric designs were inspired by the many ornate tiled floors in cathedrals and 19th century public buildings in England.  The center piece draws on my background in Medieval and Renaissance Studies, my major in college.  Many ancient churches have lower levels built during the Romanesque period.  Hence, nice curved arches in the nave and side aisles.  Above soar Gothic bays of clerestory windows, emitting lots of light under their pointed arches.

I'm really pleased with these three pieces though photographing them remains "a work in progress".

(Above:  Lancet Window CCVI taped to the front window at Mouse House.)

For these pieces, I lightly taped the top and bottom edge to one of the front windows.  Getting the camera in perfect position is rather easy.  I use the shutters and sill to square the framing of the image.  It isn't precise but it seems to work.  Reflected light, however, might be a bit of a problem but I shoot each one using several different exposures.  Thankfully, I have an old version of PhotoShop to crop and create a collage of the three pieces together.

One more thing!  I'll be giving a gallery talk at USC Upstate's Gallery on Main during the October Art Walk in Spartanburg, SC in my solo show, Anonymous Ancestors.  It will be at 6 PM on the 19th.  I'm very excited because this falls during the 39th Annual 2017 Tri-State Sculptors Conference

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

Monday, October 02, 2017


(Above:  Corked glass bottles with "transparency" messages.  Click on any image to enlarge.  I am looking for more "messages" as I have 144 bottles to fill!  Email me or leave a comment)

No ... I'm not going to be throwing hundreds of messages-in-bottles into the ocean.  No ... I'm not unduly or emotionally connected to the 1979 song by The Police.  It's all about TRANSPARENCY, and I need help in pulling this project off!  What sort of secrets would be revealed if everyone's life was lived with the transparency generally expected from government?  Send me your answers!

 (Above:  Photo posted to a local Facebook group by Andy Smith.)

It all started when Andy Smith posted this photo on a local Facebook group called "Bartertown". Something about it spoke to me.  I wanted this 16" in diameter glass light fixture immediately.  I wrote a response asking the price or the barter or whatever was needed to make it mine. 

(Andy Smith and one of his recycled scrap metal dinosaurs ... taken from a Jasper Project blog post by Mary Catherine Ballou.)

Andy wrote back with an address.  The light fixture was FREE and would be on his front porch.  I could pick it up at my convenience.  I went right away.  It was on the porch.  So, to the best of my knowledge, I have yet to meet Andy Smith despite the fact that we have plenty in common including roots in Ohio, being self-taught artists, and wanting to give new life to old things.

(Above:  My attempt to capture a close-up image of the glass ... all those lovely bubbles!)

Despite a few chips around the rim, the light fixture is more beautiful than I dared to hope.  It appears to be hand blown with lots and lots of bubbles in the glass.  It sits perfectly on a thicker section with a slight indentation that was probably where the glass was attached to a rod in the process of being blown.  I washed the fixture and let it sit on in my frame shop where I could look at it for a couple of days. 

I asked myself questions.  Q: Why do I love it? A: Hand-crafted  Q: What feature is most impressive? A: Transparency Q: Why is the transparency more impressive in this piece than other glass? A: Because the tiny bubbles make me actually LOOK at the glass, not just through it. Q: Can transparency be the focus of a new piece of art? A: YES!

 (Above:  A case of little glass bottles ordered from SKS Bottle & Packaging.)

I did a little research on the word "transparency".  The definition is very straight forward, but the word is more interesting when paired with "government" and/or "business". 

One on-line definition:
Openness, accountability, and honesty define government transparency. In a free society, transparency is government's obligation to share information with citizens. It is at the heart of how citizens hold their public officials accountable.
Another on-line definition:
Corporate transparency describes the extent to which a corporation's actions are observable by outsiders. ... To increment transparency, corporations infuse greater disclosure, clarity, and accuracy into their communications with stakeholders.

 (Above:  Corks for the little glass jars.)

I started asking myself more questions ... like "How much information is too much?" and "What if I had to be as open as I expect those in government and business to be?" and "What secrets would be revealed if everyone led a totally transparent life?"  That's when I thought of clear glass jars into which I could put note suggesting that level of transparency. 

 (Above:  My light fixture, Micron pens, card stock tags, and messages-in-bottles.)

So far, I've put the following phrases into the first few corked bottles:

Cheated on my income tax
Regularly exceed posted speed limits
Hide liquor bottles
Walked out on a restaurant tab
Lied on a job application
Can't balance my checkbook
Ignored an out-of-state parking ticket
Didn't get caught shop lifting

NO!  I have not done these things (except occasionally the speeding).  No, you don't have to be confessing something if you send me a phrase.  I've always found that asking the public for their impressions results in a more interesting finished artwork.  So, please leave a comment or email me at with suggestions.  I'll post photos when Transparency is finished!

Saturday, September 30, 2017

Large Stained Glass LXXXI

 (Above:  Large Stained Glass LXXXI, detail.  Click on any image to enlarge.)

This past week has been very productive!  There are two major reasons.  First, I'm getting ready for the Philadelphia Museum of Art Craft Show in November.  Second, my "day job" hasn't needed much work from me.  My husband Steve and I own a business called Mouse House.  We do limited custom picture framing.  The past two weeks were SLOW ... very, very slow ... which meant I had plenty of time in my studio.  Of course, there is a draw back to this scenario.  We aren't making much money.  It is scary but it also an opportunity. 

(Above:  Stained Glass LXXXI.  Framed with crystal clear, anti-reflective glass:  63" x 23". Inventory # 4088. $1300.)

Many of the artists exhibiting in high-end fine craft shows live in hopes that sales will be good.  Many don't have a "day job".  It is a risky life style.  Time is spent differently.  These artists often have more time to explore new ideas and designs.  So, that's what I've been doing too!  I've really enjoyed consulting my 1868 copy of Owen Jones' Grammar of Ornament.  For this piece, I spent quite a bit of time really LOOKING at the details and motifs on this page featuring an Indian pattern.

 (Above:  Owen Jones' Grammar of Ornament, page featuring Indian designs.)

Obviously, I did not sketch out the exact design.  The vase shape is much the same but the rest simply borrows ideas, shapes, and the way curves and angles work together.  I'm very pleased how the finished piece turned out.

 (Above:  Large Stained Glass LXXXI beside the front door at Mouse House.)

In my last blog post, I mentioned photographing my work after it is mounted.  This is how it looks.  The fiber art has been stitched to a piece of over-sized mat board measuring 58" x 18".  That mat board it secured in a black linen liner ... as shown above.  I then position the work on the front porch ... as erect as possible ... sort of clamped to a nearby window jamb. (Not shown above!) My camera is on a tripod.  I work really hard to get the camera's view finder to be centered and square on the artwork.  I take various exposures, hoping one looks best. 

 (Above:  Large Stained Glass LXXXI, detail of top.)

After taking the "full view", I take several detail shots ... like this one of the top ...

... and this one of the middle section ...

... or this one of most of the vase.

Unfortunately, I have no good way to get a better image of the bottom.  It is impossible to keep the camera on the tripod when the bottom supported by the porch!  For smaller pieces, I can position the work on the actual window sill.  Yet ... these less-than-perfect pictures do give an accurate view of how large these pieces really are and also the texture, dimension, and physicality of the work.

By the way, the outer dimensions of the black linen liner are 60" x 20".  This was intentionally done so that an over-sized piece of glass (60" x 40") could be cut into two ... one side for each of two artworks.  The glass is put into an outer frame ... and the linen liner goes in next.  The liner and the frame create a narrow space so that the artwork never comes in contact with the glass.

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