Hope, CLAWS, and Elizabeth Siddal

(Above:  Elizabeth Siddal, 24" x 18". Image transfer, artificial flowers, paint, sequins and beads, self-guided free-motion machine quilting. Hand stitching. Click on any image to enlarge.)

Just after the start of 2012, I joined a national group called CLAWS (Crossing the Line: Artists at Work).  Membership is limited to just twenty art quilters.  Every six months each member creates a 24" x 18" art quilt in response to a theme.  Karen Musgrave heads up this group and is seeking traveling exhibition opportunities for the work.  Our first deadline was August 15, 2012.  The theme/title was:  Women Who Broke All the Rules.  I stitched a portrait of Skirt! Magazine founder and editor Nikki Hardin.  I couldn't blog about the piece I made because this group had one of those very silly rules banning Internet exposure.  For some strange reason, much of the art quilt world still has a foot stuck in the 19th century with the notion that some "grand unveiling" of new work generates more interest than the technology available today.  I don't get it; I never did; nonetheless, I followed the rules!


(Above:  Elizabeth Siddal, detail.)

THANK GOODNESS!  This group came to its sense and has lifted this silly rule.  I can blog again!  Please know, I'm very happy I joined this group because I've learned quite a bit ... like the fact that trying to organize a long-distance group of creative women is pretty much like attempting to "herd cats".  I don't really know any of the other members.  I don't even know their artwork, but I've come to know that some are late, miss deadlines, quit, and change their minds after initially selecting a response to a given topic.  I also learned that I am certainly NOT a typical art quilter.  I've made mistakes too!


(Above:  Elizabeth Siddal, detail.)

One of the more recent themes for the CLAW group was "Rewriting History".  Each member was supposed to select a professional female artist who isn't generally found in art history books and/or major museum collections.  I volunteered to stitch Ana Mendieta (scroll down to see this work).  Karen Musgrave accepted my subject; I made the piece; I sent it a month before the deadline. Later I learned that only twelve art quilts were submitted before the deadline and others weren't necessarily coming.  Thus, I volunteered to stitch another piece (because this theme has actually been my favorite one!).  Karen Musgrave accepted my subject, Elizabeth Siddal.

 

(Above:  John Everett Millais' Ophelia.)

I knew exactly what I wanted to do.  Of course I did!  The image for the art quilt is of me ... but it is also entirely inspired by Elizabeth Siddal.  So, who is she?  Well, Elizabeth Siddal was a favorite model and muse for several of the Pre-Raphelite painters including John Everett Millais who painted one of my favorite pieces, Ophelia.  Elizabeth Siddal posed in a tub of water for this in 1852 ... day-after-day ... into the winter ... never complaining ... even when the lamp heating the water went out.  This painting and my obsession with artificial flowers collected from cemetery dumpsters triggered a hair-brained idea for my first performance art piece.  I blogged about preparing for this adventure HERE.  There was a "dress rehearsal" too ... during which time several people photographed me in the claw-footed tub inside the Main Street storefront window of the Tapps Art Center.  I blogged about this too!  One of the photos was taken by my mentor, Stephen Chesley.  It was his image that I used for the art quilt of Elizabeth Siddal. 


(Above:  Ophelia, performance art piece at the Tapps Art Center, June 2011.)

In addition to collaborating with a couple of photographers, I also worked with Michael Krajewski, a local graffiti artist, who covered the walls in pencil and red paint ... truly reflecting the thoughts of a lovesick teenager about to commit suicide.  One of the best parts of this experience is Heather Bauer's time-lapse video of the people watching.  It is HERE.   So, Elizabeth Siddal inspired me too ... and her life saddens me as well.  During her brief and unfortunate life, she wrote poetry and painted.  Unfortunately, she was a woman.  The men in her life thought she was the ideal of feminine beauty but they didn't really treat her right.  They certainly didn't allow any aspirations she might have had for making art to flourish.  A few of her works still exist but are rarely exhibited.  She inspired but was stifled. Her features grace art history but rarely her name.

(Above:  Elizabeth Siddal, reverse.)

I am very pleased with this piece.  For the reverse, I used a piece of dirndl material I bought in Salzburg, Austria two decades or more ago.  I loved it then and still do.  While rummaging in my "vintage" stash for this fabric, I happened upon a piece of needlework that I stitched at least fifteen or more years ago.  It was finished ... in the sense that the stitches were all there.  It was unfinished ... in the sense that I threw the piece into the plastic bin with everything else.  Why not use it for something?

(Above:  Elizabeth Siddal, reverse, detail of signature.)

It is very likely that I'll never do any needlepoint again, especially anything that requires counting. So, I took that piece, stitched on my name (without counting! LOL!) and date, put it on a crochet edged doily, and put it on the back of Elizabeth Siddal.  There's something fitting about a very ornate addition to a work inspired by the PreRaphelites!

(Above:  Hope. 24" x 18".  Xylene photo transfer on muslin combined with scraps of a vintage pink kimono and other cotton fabrics; beads, sequins and upholstery trim. Hand stitched.)

I am sending Elizabeth Siddal off to Karen Musgrave.  In the box is yet another art quilt.  (Both were made during the last week.)  This is Hope.  It is for another CLAW group theme ... Twenty Words That Can Change Your Life.  Karen provided a list of twenty words.  I volunteered to create Appreciate.  (Scroll down to see it!)  I finished it last month and sent it in early.  The deadline with these quilts is actually on February 15th.  As I mentioned earlier, this group has had its share of problems ... and Hope became available a couple of weeks ago.  I snapped it up!  Again, I knew exactly what I was going to do.    


(Above:  Hope, detail.)

No ... I didn't throw this together inside of a week.  I did it in a single day!  Of course, I was already working with a finished piece!  In May 2011 I created The Face of Faith in the 21st Century.   It was high time to remove it from its frame, cut it down, and turn it into something else.  The funniest thing about this piece is that fact that at first I forgot the name was "Faith", not "Hope".  For me, these two words require one another.  They are also entirely interchangeable ... and also names for a girl!  This is not only the face of "faith", it is also the face of "hope" ... for all things spiritual, for all things good, for the future!
 

(Above:  Hope, reverse.)

The reverse of Hope is actually a crinkled gold foil paper.  My signature is on a pink dinner napkin that doubles as a hanging sleeve.  I added buttons ... assuring that all three layers are connected ... more than just on the side which is my normal blanket stitching.


(Above:  Nikki Hardin. 24" x 18". Xylene photo transfer on tea-stained muslin, white recycled felt, Thai stucco decorative paper, paper, beads, thread.  Hand stitched.)

So ... now I have a bit of "back-blogging" to do!

The first theme for the CLAW group was "Women Who Break All the Rules".  Of course, I did just that ... I broke the rules on my first attempt! LOL!  I selected Nikki Hardin, Founder of Skirt! Magazine.  I was honored when she agreed to this project and sent photos and a model's release. 

(Above:  Nikki Hardin, detail.)

My problem started after reading the ideas for this group's hopeful exhibitions.  The initial information requested that all the pieces be 24" x 18" so that they could easily be shipped together ... neatly in one box.  Slats for hanging would be packaged separately.  Thus, I thought my "skirt hanger" didn't count toward the finished size of my first piece Skirt! Is a Rebel.  Karen rejected it.  So I made Nikki Hardin as a replacement piece.  This was easy enough.  After all, I've created 108 works in my Decision Portrait Series.  All the single portraits are basically 24" x 18".  I know how to do this! I'm happy that I can now show this piece!

 

(Above:  Skirt! Is a Rebel, an art quilt. Photo transfer on tea-stained muslin, two skirts, hand embroidery.)

I did, however, share my first attempt.  That early blog post is HERE.  This piece was also recently part of Art Quilts XVIII: ARTrageous, a juried national show at Vision Gallery in Chandler, Arizona.

 

(Above:  Skirt! Is a Rebel, reverse.)

As far as hanging this piece goes, it is actually easier that just about any other art quilt ... and can be done "in the round" since the reverse is finished with a collage from Skirt! Magazine!  I will continue to submit this piece when appropriate for a call-for-entry!  I like it a lot!

(Above:  'Til Death Do Us Part. 24" x 18". Gay pride flag, polyester velvet, beads.  Machine and hand stitching.)

The second theme for the CLAW group was "Art Can't Hurt You" and members were supposed to respond to a social issue.  I volunteered to create a work about same sex marriage. 

(Above:  'Til Death Do Us Part, detail.)

By this time, the group decided that one could blog "in progress" images and a "detail shot".  So ... I was able to write a post HERE ... just not show the full, finished work. 

(Above:  'Til Death Do Us Part, in progress.)

This was sort of ridiculous because "in progress" pictures along with the "details" on a piece this small make the final outcome sort of obvious!  Still, I'm happy to finally be able to show the WHOLE thing!

(Above:  Ashes to Ashes; Dust to Dust.  26" x 20".  Image transfer and artificial flowers collected from cemetery dumpsters. Trapunto. Self-guided, free motion machine embroidery with hand stitching and beading.)

Speaking of "showing the whole thing", the third installment for the CLAW group was the "Rewriting History".  As mentioned above, I volunteered to stitch a piece on Ana Mendieta, a pioneer of earth/body art.  Of course, my first attempt got away from me.  The artificial greenery extended several inches beyond the 24" x 18" required border.  So this one became part of my I Am Not Invisible solo show last November and December. 

(Above:  Earth to Earth. 24" x 18".  Image transfer and artificial flowers collected from cemetery dumpsters. Trapunto. Self-guided, free motion machine embroidery with hand stitching and beading.)

I controlled my urge to allow the flowers to be more organically arranged on my second attempt.  Because Karen also might need a QR code for potential exhibitions, I did blog about this piece ... on a support blog ... trying very, very hard not to break any more rules especially since I was sending a nude.  It has additional information about Ana Mendieta, who still inspires me, and about my reasons for creating these two pieces. That post is HERE.


(Above:  Earth to Earth and Ashes to Ashes; Dust to Dust, reverses.)

I really liked using the vintage material for the background.  It likely dates from the time when Ana Mendieta work alive, well, and working!


(Above:  Appreciate, 24" x 18").

Finally, this was my "other word" for the Twenty Words That Might Change Your Life.  I was able to blog about it ... because the silly anti-Internet rule was finally dismissed!  That post is HERE.

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber arts.  (I'm happy that this week I had a choice of blog posts from which to select!  I'm planning on keeping up my promise to blog more than once a week!)

A Wonderful Weekend!

(Above:  Steve and I at the Columbia Museum of Art's Fire and Ice Ball.  Click on any image in this blog post to enlarge.)

Recently I've fallen into the bad habit of blogging only once a week.  It is a problem.  Why? Well, by the time seven days have past, I've generally got too many images I want to share and too many things I'd like to say.  Blogging, as a result, seems to take too much time.  From now on, more blogging ... like sharing this past weekend!  It was a super time!


(Above:  Steve and I at the Fire and Ice Ball.)

The weekend started with the Fire and Ice Ball at the Columbia Museum of Art.  One of my pieces was part of the silent auction.  There was dancing, gorgeous floral arrangements, exotic food, valet parking, and lots of people ...



... including Elizabeth and Sam Crews who have been our friends since we moved to Columbia in 1987.



A photographer from The State newspaper took the photo with Sam and Elizabeth and this nice one of the two of us.  I pulled these photos from the newspaper's website.  There were hundreds of them ... all of very well dressed art lovers!


(Above:  The Girl Scout's Powerful Women Summit at the Capital City Club.)

The next morning found me on the 25th floor of Columbia's tallest building.  This is the Capital City Club and the site of the local Girl Scout's annual "Powerful Women Summit".  The panel included a chemist, a State House legislator/attorney, an F-16 pilot, a nuclear licensing engineer, a high school head coach, an image consultant, a captain from the sheriff's department, a staff person from Harvest Hope Food bank, several others ... and ME ... a professional studio artist.


(Above:  The Powerful Women Summit.)

Prior to this event, all the panelist provided an in-depth biography from which the emcee drew for introductions.  She selected information about us from our own days in middle and high school.  Unbelievably, more than half wanted to be a veterinarian ... and yet there wasn't a vet among us.  This was important and helped guide the conversations as we rotated from round table to round table.  The career options one hopes to accomplish while in high school might not be exactly what one ends up doing ... but planning, determination, an education, and strong leadership qualities will always manage to navigate a girl into a "powerful woman"!  (By the way, Dad ... the emcee mentioned the fact that when I was a high school Girl Scout, you were our troop leader!)


(Above:  Talking to some of the girls.)

Every girl in the room has her eyes set on college.  Many hope to be veterinarians.  I'm not sure any will actually do this but it was obvious success is on the horizon no matter what!  


(Above:  View of Columbia's Vista from the Capital City Club.)

For me, one of the most important, personal impressions from this event was undoubtedly the view.  This is Columbia's Vista, the arts and cultural downtown district of the city.  When walking the streets, I'm aware of the slight elevations, the enormous buildings, the busy traffic, and the feel of a lots and lots of space.  From the 25th floor, however, the area is remarkably flat.  The buildings don't look very big, the traffic is minimal, and the area really isn't that big.  Viewpoints make all the difference.  The building in which my studio is located is easy to find.  It is the former warehouse that now has a partial wall painted bright blue.


(Above:  The former Vista warehouse that is now owned by Moltan/Lamar Architects.)

My studio is a sacred space.  When I'm inside, it is "my world".  I've made almost everything within the four walls.  The walls don't actually rise to the ceiling.  I can look over mine and see the four skylights above the gallery's atrium area.  It wasn't too long ago that I hung The Canopy there.  It seemed huge!  From the Capital City Club, however, it is like a tiny bird's nest, a quiet place in the middle of a busy city ... a place to work ... my itty-bitty piece of the art world.


(Above:  Max, our cat, sleeping in his new "nest".)

Mentioning the word "nest", I seem to be creating one for Max, our cat.  The unraveling of thread for the upcoming installation is going along wonderfully.



Max, of course, thinks I'm doing this for his benefit.  I have a meeting on Wednesday to finalize the location for the installation!  I'm excited.  (To read more about this project, click HERE.)

(Above:  In Box CXL.  Unframed:  Approximately 28" x 16". Framed:  33 3/4" x 21 3/4".)

Of course, I am also going to my studio ... daily ... no matter what!  So, In Box CXL and In Box CXXXIX were finished and framed recently too!


(Above:  Detail of In Box CXL.)

I've also finished and photographed two more 24" x 18" art quilts.  I'll blog them in a day or two!  Check back often.  I promise to write more frequently!

 

(Above:  In Box CXXXIX. Unframed approximately 17" x 13".  Framed:  21 3/4" x 17 3/4".)

Thread ... lots and lots and lots of THREAD!

(Above:  My new "Unraveling Station" along with a pile of gorgeous, old thread ... an installation in progress!  Click on this or any other image to enlarge.)

I read two on-line forums.  The first is the SAQA (Studio Art Quilt Associate) Members list.  The second is called "Quiltarts".  (Note to my parents, especially to Dad ... these on-line forums are sort of like social media.  A person joins the on-line group. The group has a common interest and topics must stay within the interest of the group. Any member can pose a question or make comments.  I receive these comments as a "digest" ... which means that I get all the comments in a single email message ... once a day.  I lurk; I rarely write anything!)


(Above:  The Nature of Memory on left and Gathering My Thoughts on right.)

Recently, a member posted a sewing concern.  Her thread was constantly breaking.  Various members suggested all sorts of reasons for this problem ... from a burr on the bobbin case ... to issues with slippery threads ... to the possibility of the thread being OLD!  One member shared a story of fighting with OLD thread.  Another member urged everyone to simply "throw out" their old thread.  That post forced me to write ... asking members NOT to throw out old thread but to send it to me!


(Above:  Gathering My Thoughts, the first attempt.)

Why?  Well, I use old, unraveled thread in some of my work.  The Nature of Memory was my first such piece.  I loved using all this unraveled sewing thread around a half-model of a brain.  The threads truly resemble thought patterns.  All the unraveling threads make visual sense.  They are like the concept of losing one's memory over time, the notion that we forget details, the idea that our thoughts are ethereal ... slipping away, fading, or being lost to Alzheimer's or because we simply forgot to listen to the stories of our ancestors before they died.  So ... next I created the little piece above.  I called it Gathering My Thoughts.  I liked it; it was cute.

It wasn't long before I realized that the problem with this piece was it's small size.  It need to be BIGGER ... and have lots and lots more unraveled thread.  So ...


(Above:  Gathering My Thoughts ... top basket.)

I made it larger!  I unraveled thread found at Bill Mishoe's auction ... old thread ... and plenty of it.  I used various old baskets mounted to the wall.


(Above:  Gathering My Thoughts ... middle portion.)

The thread cascaded down the wall, in and out of the original little basket ...


(Above:  Gathering My Thoughts, lower section.)

... and into a laundry basket on the floor.  I blogged about this installation HERE.  It was also shown during my solo show I Am Not Invisible last November and December.  It looked great ... but ... there was still a problem.  The same problem.  It needs to be even
BIGGER !  

(Above:  Donation of old thread from Carol Ann Waugh.)

Thus, I asked other stitchers to please send their old thread to:
Susan Lenz
2123 Park Street
Columbia, SC  29201

(Obviously ... I'm more than happy to accept more, old thread!  Sorry, I can't pay for shipping but I promise to blog all about this upcoming installation with words of thanks!)

AMAZING!  I got four donations.  Carol Ann Waugh sent a nice big box and a lovely card! (Above)


(Above:  Donation of old thread from Eileen Doughty.)


(Above:  Donations from Elizabeth McAllister in Youngsville, NY and Pat Owoc in St. Louis, MO.

I've been unraveling all of it.  The living room's tile floor now has a glorious mass of ever-growing thread!  During the process, my husband Steve shot a video clip showing me unraveling seven spools of thread at once ... using a little black box.  It worked well until yesterday.

(Above:  Two boxes of old thread from Read Brothers in Charleston and the new "unraveling station" ... along with the mass of thread already unraveled.)

Yesterday I had framing work to accomplish in Charleston.  I stopped by Read Brothers on King Street.  It is an odd place, old and dusty, sparsely stocked with bits and pieces from past decades, and a cash register that undoubtedly dates to 1912 when the family started doing business on this site.  I love these sorts of places and felt certain that there might be some really old thread just waiting to be part of my installation.  Sure enough ... I found plenty.  It was definitely old ... likely from before 1985 when Conso Products were still making thread in Union, South Carolina.  Some of the boxes looked as if partly eaten by mice.  Some of the thread doesn't break immediately in hand ... but most of it does. As old as this thread was, the price was still a dollar per spool.  There's no way to bargain with some people ... no matter how one tries to explain the adjective STARVING as the stereotype description for a career as an ARTIST.  What could I do?  I bought 225 spools.  I don't know how much thread I actually have.  The paper labels only state that this thread is 0/3 in size and 2 oz. per spool.  I'm guessing I've got miles and miles.  I also knew I'd need an even more efficient way to unravel all this thread.  An old wooden chair was fitted with eight screws ... and now, I can really unravel at high speed.  Steve shot another video clip... with our television blaring in the background.  I've turned the clips into a UTube video ... just 1:28 long.  It is HERE.  This is how I'll be spending my evenings until the installation.  I'm also collecting more baskets.  I'd hoped to give details for the upcoming installation ... but my meeting has been postponed.  Let's just say, Gathering My Thoughts is aiming to be a room-sized installation of unraveled thread ... opening during Artista Vista 2014, April 24th!  If you have old thread ... please consider sending it!

(Above:  Stained Glass LVIII.  Framed:  62 1/2" x 22 1/2".)

Although I could probably spend all my time unraveling thread, I'm still making other work, especially pieces needed for the upcoming ACC Baltimore show and the Germantown Friends School Juried Craft shows.  Stained Glass LVIII was finished this week.

 
(Above:  Detail of Stained Glass LVIII.)

Also, In Box CXXXVIII was finished. 


(Above: In Box CXXXVIII.  Unframed approximately 17" x 13".  Framed:  21 3/4" x 17 3/4".)

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

Two pieces find a new home ... and other new work!

(Above:  Pat Beckler and Bonnie Mullis purchasing Stained Glass LV and Stained Glass LVI for Shandon United Methodist Church.  Click on any image in this blog post to enlarge.)

Recently I created two pieces on a "first refusal" bases for Shandon United Methodist Church.  This meant I could make anything I liked; they got to see them/purchase them before anyone else; they were under no obligation to buy them.  This was an arrangement that worked well for everyone.  After all, I'm going to the ACC Baltimore Show at the end of February.  If the church didn't want these pieces, they'd go with me to Maryland.  Pat and Bonnie could have made new suggestions and I would have simply tried again.  Yet, we'd had great conversations up to this point.  They mentioned a few additional, religious symbols that truly resonated with members of the congregation, like ...


(Above:  Detail of Stained Glass LVI.)

... the descending dove in the center of a lunette at the top of Stained Glass LVI. 


(Above:  Detail of Stained Glass LVI.)

They also admire large, Rose Windows in many historic cathedrals.  Thus, one was intentionally included as well as a cross in the very center.


(Above:  Detail of Stained Glass LVI.)

We also talked about various architectural styles, especially Gothic and Romanesque arches.

 

(Above:  Stained Glass LVI on left and Stained Glass LV on right.)

When designing the two pieces, I made sure one had the Romanesque and the other had the Gothic!  There are all sorts of other religious symbols in both works.  This was really no problem at all ... because I usually include them.  I can't think of stained glass windows without references to places of deep spiritual atmosphere!  It's just part of me and part of the original inspiration for these works.  I'm so happy they now have a new home!

 

(Above:  Installing Stained Glass LV and Stained Glass LVI at Shandon United Methodist Church.)

On Wednesday morning I delivered and hung the pieces in the stairwell at Shandon United Methodist Church.  It is impossible to tell from a photo, but this is a GREAT LOCATION ... a very busy place between choir rooms, offices, Sunday school classes, and even an upstairs, rotating art gallery!  I'm truly honored. Unfortunately, the lighting was such that great photos weren't possible during the installation.  Two nice men helped with the lifting and centering.  The wall is plaster and required drilling the holes for the hanging devices.  Everything well very smoothly. 

 

(Above:  Bonnie Mullis on the left and Pat Beckler on the right.)

In no time, the works were hung and I got this photo of Bonnie and Pat.  Later there will be a dedication ... including the donor and his family.  He donated the funds in honor of his wife, a talented embroiderer.  I'll blog about this when the time comes .... can't wait!

 

(Above:  Window LXXXVI.  Unframed:  13" x 11"; Framed 17 1/4" x 15 1/4".)

I liked the descending dove so much that I used the same motif for a small "Window" series piece that I finished this week.

 

(Above:  Window LXXXVII.  Unframed:  13" x 11"; Framed 17 1/4" x 15 1/4".)

This was the other "Window" finished this week ... but I also got several other pieces finished, framed, and ready for the trip to Maryland for the ACC Baltimore show, Feb. 22 - 24.

 

(Above:  Stained Glass LVII.  Unframed:  57" x 17"; Framed:  62 1/2" x 22 1/2".)

Another large, "Stained Glass" window was finished ... using a stylized tulip for the basic design motif.  I love this mostly Indian design.

(Above:  Detail of Stained Glass LVII.)

Some of the colors are really bright and very brilliant due to the new, nearly neon polyester velvets I've recently purchased.


(Above:  In Box CXXXV.  Unframed:  17" x 13"; Framed:  19 1/4" x 15 1/4".)

I've used these neon colors in my newest, small "In Box" series pieces too.


(Above:  In Box CXXXVI.  Unframed:  17" x 13"; Framed:  19 1/4" x 15 1/4".)

Yet, I've been up to a few more projects!


(Above:  Dismantling an old, cast iron sewing machine.)

I got this old, cast iron sewing machine from my parents.  I think it might have originally been a treadle machine but was updated to work with electricity.  The cord looked dangerous.  Although one might have been able to get it working again, there were plenty of problematic parts ... semi-rusted.  The cabinet had its share of problems too.  So ... I decided to dismantle it for parts.  I really, really wanted the big wheel.  Well, Steve and I worked for a solid two hours on it.  We removed dozens of screws using at least six different sizes of flat-headed screwdrivers.  Many parts came off but the wheel was quite firmly attached.  Exhausted, we gave up.  During the next two days, I continued to find screws to take off ... until FINALLY ... I got the wheel!  I'm not sure exactly what 3D found art object will get this wheel ... but I feel victorious!  It was loads of fun.  Steve and I now know that we will NEVER complain about sewing machine repair costs and we also have a new found appreciation for mid-19th century design.  


(Above:  Wall of Ancestors, Always in Style.  Collage on original hand-tinted, anonymous photo in hand-finished but otherwise "readymade" modern frame. Click on any image to enlarge.)

I'm also continuing my Wall of Ancestor collection.  These are all original antique and vintage photographs collaged with letters clipped from vintage books, sheet music, and magazines.  I'm currently writing two exhibition proposals:  Ancestors and Threads: Gathering My Thoughts.  The Wall of Ancestors is obviously part of the Ancestor proposal.  I hope I get the opportunity to display the visions I have in my head.  Time will tell.

(Above:  Wall of Ancestors, First in My Family to Immigrate to America.  Collage on antique photo with hand coloring in original frame.)


(Above:  Wall of Ancestors, Nothing But the Finest.  Collage on original hand-tinted, anonymous photo in hand-finished but otherwise "readymade" modern frame.


(Above:  Wall of Ancestors, Our Love Affair was Epic.  Collage on two antique sepia photos ... including "Roses are Red" and "Violets are Blue".  Contemporary matting and framing.)


(Above:  Wall of Ancestors, So Young, So Strong, So Beautiful.  Collage on original hand-tinted vintage photo with contemporary matting and framing.)

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