Recently I blogged about pieces picked up from a local art gallery that was supposed to be representing me but was really just storing older work. Most of the pieces were reworked but a few remained ... including In Box CCLXXIX. This piece was always a departure from the series. I never did any melting. Instead, the space between the rectangular shapes was densely machine embroidered.
Well ... I decided to remove it from its frame, stiffen it with Golden's GAC 400, and mount it on black-painted stretcher bars using galvanized roofing nails. Finally, I poured UV filtering epoxy over the entire surface ... twice. Why twice? Well, the stiffener doesn't work as well on the porous fabrics and doesn't level perfectly because the surface isn't particularly flat. Two coats, however, worked.
I photographed it in my studio, under the color correcting track lighting that is aimed straight downward. This situation eliminates most of the reflective glare off the epoxy. I really like the photo above, however, because the angle shows just enough of the reflection ... which doesn't really show when looking straight and through the camera's lens.
I didn't change the inventory number for this piece but I did stitch over the original date that was free-motioned in one corner.
Lately, I've been in a mood to rework older pieces but also to use some of the "things laying around" that have been collecting dust. One of those things was this rustic red frame. I composed this arrangement of papers, stitched, and beaded it ... to fit into the existing frame.
I really like stitching through handmade paper. I like the texture of it. Once the machine stitching was done, the piece reminded my of topographical maps and hence the title.
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