Friday, August 23, 2013

Work Completed Since returning from England

(Above:  Stained Glass LXIX, detail.  Click on any image in this blog post for an enlargement.)

Sometimes I don't blog for an entire week.  During the last week I posted four times.  These irregularities are generally due to travel.  When away, I can't always blog.  After returning, I'm behind and attempt to "catch up" with multiple posts.  Yet, I'm ALWAYS working.  Despite going to The Festival of Quilts in Birmingham, UK, losing both a 100+ year-old tree and a beloved 13 year old cat, and sharing inspirational photos, I have also been working on my fiber art, especially in anticipation of my two November shows:  The Philadelphia Museum of Art Craft Show and the Washington Craft show.  These are BIG DEAL and need plenty of new work from my "Stained Glass" and "In Box" series.  So ... here's the newest work!

(Above:  Stained Glass LXIX. 57" x 17" unframed; 64" x 24" framed.)

This piece was inspired by another from the series.  Lynn Robertson, former executive director of the McKissick Museum and co-curator for the upcoming 701 CCA Biennial, came to look at my work since this series was accepted into the Biennial.  She made an interesting comment on Stained Glass LXVI, "I like the use of negative space."  This got me thinking about my mental process when designing work.  I tend to concentrate on the shapes themselves, not the space between them which can be very much a part of the design.  I decided to explore the idea and Stained Glass LXIX is the result.  I really like the result.  Thank you Lynn!

(Above:  Stained Glass LXVIII, detail.)

This is the other piece that, like the one above, was mostly finished before I went to England.  I completed them after my return.

(Above:  Stained Glass LXVIII, detail of the bottom.)

(Above:  Stained Glass LXVIII.  57" x 17" unframed; 64" x 24" framed.  Polyester stretch velvets, previously painted heat-activated adhesive, chiffon scarves on recycled black, acrylic felt with self-guided free-motion machine embroidery and melting.)

(Above:  Detail, including signature block of In Box CXI.)

I also had In Box CXI almost finished before going to England.  These three pieces were all constructed, stitched and waiting to be melted and mounted before I could snap photos.  

(Above:  In Box CXI.  Unframed 27" x 17".  Framed: 32" x 22".)

Since finishing the melting and mounting/framing, I've created five new Lancet Windows.  These are long and skinny.  Of course, I forgot to check my mat board stock earlier in the week.  Now, despite the fact that these five pieces are technically "finished", I'll have to wait until early next week!  I generally stitch directly through the mat board in order to mount them.  Then, before installing the glass or Plexiglas, I take the photos.  Finally, they are closed up in their frames.  For reference, the photo below is how the pieces in the blog post (plus one other) look now.  Soon, I'll share the new Lancet Windows!

(Above:  Three pieces from my "Stained Glass" series and one "In Box" piece ... framed and ready for the shows in November ... and/or the 701 CCA Biennial ... depending on what Lynn Robertson selects!


Judy Ferguson said...

I don't know how you possibly keep up with all this. I would be exhausted. I have been giving thought to negative space also. Your comments on this subject brought it back to mind. There is no one like you, you know.

Wanda said...

More great work. I find it awe-inspiring that each piece is unique. None of them looked rushed or like you are just cranking stuff out. Each one tells a different story. I think that is one of the things that sets you apart. Very nice. I have to say, I have never thought of negative space because I don't really know what that means. But if it means blank spaces in work, I guess I just don't like it too much. I tend to want every inch of the fabric covered up with stitching. Does that make me weird or something?