Mandala CXXI and CXXII

(Above:  Mandala CXXI. Custom framed: 17 1/4" x 17 1/4".  Found objects hand-stitched to a section of a vintage quilt. Found objects include: miniature teddy bears; lids from vintage cans of Hoppe's gun clean-up patches; old keys; brass grommets; eight, small cookie cutters; and a plastic centerpiece of unknown function.  Click on any image to enlarge.)

I've had the Hoppe's gun clean-up patches lids for at least two months.  They came from my local auction house where used household items are sold by the "table lot".  I've tried to use them on several, earlier Found Object Mandalas but they never seemed quite right.  Then, my friend Flavia Lovatelli donated the cute, miniature teddy bears.  There was something about "bears and guns" that just made some sort of warped sense.  This piece then came together quite quickly.

(Above:  Detail of Mandala CXXI.)

The quilt used was a scrap cut from a utilitarian quilt donated to my stash by another friend.  Yet another friend donated lots of things to me ... and in the mix, I found the plastic "thing" used in the middle.  I have no idea what its function was.  It is labeled "This side up" ... so that's the way it was stitched in place.

(Above:  Mandala CXXII. Custom framed: 18 3/4" x 18 3/4".  Found objects hand-stitched to a block of an old Drunkard's Path quilt.  Found objects include:  a woven trivet on which a Maxwell House coffee lid was placed; yellow Tinker Toy connectors; badminton birdies; silver brioche molds; pinch pleat curtain hooks; small, crochet doilies; plastic combs; and buttons.)

Among the other interesting things recently donated to my stash were the badminton birdies and the Maxwell House coffee lid.  I couldn't help but to put them together on a basically red-and-white Drunkard's Path quilt block.  I'm very happy with these two pieces and am now stitching on a large mandala.  It will take at least a week to finish, especially since this weekend is OPEN STUDIOS here in Columbia. 

(Above:  Detail of Mandala CXXII.)

We really don't expect many people to drop in for Open Studios but it is an excellent reason to "clean up".  I might even have to tackle my studio.  It's currently quite a disaster area ... but I seem to thrive in all the mess of odd objects!
 

Mandala CXX

(Above:  Mandala CXX.  Custom framed:  27" x 27" when hung as a square; 38" x 38" as a diamond. Found objects hand-stitched to a section of a vintage quilt. Found objects include:  a unique Popsicle and wooden bead trivet from a friend's sister's 1970s summer camp experience; carved wooden donkeys/mules; plastic bottle caps; four stars removed from metal napkin rings; and buttons.  Click on either image to enlarge.)

Before going to Norfolk, Virginia for the weekend, I finished stitching this new piece in my Found Object Mandala Series.  I even had it framed and photographed but not blogged.  Since then, I've finished two more, much smaller mandalas.  I'll be posting images of them soon.  One of the brilliant things about maintaining a blog is the needed pressure to finish a piece properly ... and by that I mean:  photograph it, price it, enter it into my inventory book, put a label on the back, and then blog it!  It's a routine and a good habit ... even when I get slightly behind!

(Above:  Detail of Mandala CXX.)

To be honest, I didn't really know I had enough of the maple colored wooden mules/donkeys until I stitched Mandala CXIX.  Once I stitched the first forty+ animals to that mandala, I could actually sort the rest of the box.  Amazingly, I still have more!  I've moved away from these wooden toys ... for now ... but I wouldn't be surprised if I return to the rest of the herd!

A trip to Norfolk, Virginia and three Relics stitched during the ride

(Above:  A composite image of me holding each of the three Relics stitched during the drive to and from Norfolk, Virginia.  Click on most of the images in this blog post for an enlargement.)

Steve's hometown is Norfolk, Virginia.  He graduated from high school and Old Dominion (undergraduate) in Norfolk. Both his parents are buried there. (We visited.)  Norfolk is also the home of the Virginia Arts Festival.  This past weekend ABT (American Ballet Theater) opened the festival with three performances of Don Quixote.  We decided to attend on Friday night. It was grand!  We had a wonderful time all weekend.  Knowing that I'd be riding in the car, I prepared three, small Relics to hand stitch during these hours on the road.

(Above:  Relic CCLIV.  Framed:  15" x 14". Layers of polyester stretch velvet fused to cotton upholstery fabric with strips of sheer chiffon. Both hand and free-motion machine stitching and beading.)

Generally, I don't stitch a Relic unless I'm conducting a workshop.  Each one is supposed to be the result of finishing one of my own demonstrations.  With COVID-19 cancelling in-person workshops for two years, I've sort of missed making these pieces.  So, I decided to make these a little bit different ... as in "a little bit bigger".  Normally, I make Relics to fit into an 8" x 10" standard frame.  This time, Steve had leftover pieces of moulding that made bigger frames.  It was my job to "fill them".

(Above:  Relic CCLV.  Framed 15" x 14".)

I had to work quickly though ... which is how a workshop demonstration goes! I didn't start until Thursday afternoon.  We left on Friday morning.  So, the design was constructed and beading were done FAST!  The hand-stitching was done in a more relaxed manner while in our cargo van.  After coming home, I mounted and framed each one.  My challenge is to use whatever thread I randomly threw into a plastic bag.

(Above:  Relic CCLVI. Framed 16" x 15".)

Each one of these pieces is priced at $165 plus SC sales tax and shipping.  For me, however, they weren't made as "merchandise"; they were intended as a way to make the trip even more enjoyable, a way to be productive when otherwise just looking out the window!

(Above:  The ferry coming to take us across the river to Portsmouth.)

On Saturday, Steve and I took the ferry to Portsmouth.  We watched re-enactment of the British occupation of 1781, went to a farmer's market, and shopped at the library's used book sale.  

(Above:  The lobby at the Chrysler Museum ... with Sam Gilliam's soaring Norfolk Keels fiber installation.)

We spent the afternoon at the Chyrsler Museum.  The docent led tour was great.  The glass collection is particularly amazing.  We also visited the Perry Glass Collection inside the Glass Light Hotel ... which was really awesome as there is no enclosures around the pieces on display.  Every work was shown "in the round".  This truly gave the sense of what it must be like to actually "live" with such marvelous (and truly expensive!) pieces of original art glass.

(Detail of one of the amazing pieces in the Perry Glass Collection ... but I forgot to snap a photo of the artist's name.  Trust me ... it was someone with an awesome talent!)
 

The Giant Diptych

 

(Above:  Me painting the tan side of the giant diptych.  Click on any image to enlarge.)

For several months, I've been working on a couple of VERY LARGE commissions. They all started with correspondence discussing size and price, a proposal, a contract, and a schedule for required updates.  (These are the same, first two sentences on my earlier post from today ... about the other commission, a giant triptych!  The diptych and the triptych were for the same client!)  This has been quite exciting ... and more than a little scary.  After all, I don't generally paint.  Yet, the art consultancy saw my earlier piece, Capitals in Blue and Gold.  They simply wanted the finished work to measure 7' x 3' ... which is really, really big!

 

(Above:  Me painting the blue side of the diptych.)

Well ... if I can paint once, I figured I could paint again.  Apparently, this attitude works!  I'm very, very pleased with the results. 

 

(Above:  The finished diptych.)

Of course, I really couldn't capture quality images of these works.  First, the size is enormous.  Second, the glare from the coating of UV filtering epoxy makes it really hard to photograph.  Yet, I did take plenty of pictures of the work while in progress.  These were needed for the periodic, PDF progress updates.  Some of image are below ... including ...

 

... a composite image showing a detail of the painting before being stitched (top) and after being stitched (bottom). 

 

 

 

The image above shows the same detail area from the back side.  Both pieces were free-motion embroidered using 100% black cotton thread on the single layer of painted canvas.

 

This image above shows the back of the piece clamped to the original stretcher bar.  Basically, the free-motion stitching outlines the paint while adding contrast and detail.  In order to share this part of the process with the clients, Steve shot a short You Tube video. Truly, I absolutely love my Babylock Tiara!

After the stitching was finished on both pieces, the work was sealed with GAC 400, a fabric stiffener and nailed to the back side of a heavy-duty stretcher bar.  3/4" galvanized roofing nails were used.  The sides of the stretcher bar were previously painted white.  (Why "nailed to the back side"? Well, the front of a stretcher bar has a raised outer rim.  The back side is totally flat!)  Once prepared, the giant pieces were coated with UV filtering epoxy.  This liquid is self-leveling.  A propane torch is used to eliminate any bubbles that form while the two-part solutions are aggressively stirred together.  There's a 22-second video of this too!

Once both the diptych and the triptych were finished and the arts consultancy got final approval from their Seattle client, crates were built.  Steve and I got to learn plenty about the high cost of freight shipping in this wild and crazy world of fluctuating diesel fuel costs, driver shortages, and supply chain problems that have tied up various trucks.  Some companies weren't accepting new clients.  Others had exorbitant costs.  Believe it or not, my best quote came from FedEx freight!

Both crates weighed nearly 100 pounds.  We put handles on them.  The FedEx driver couldn't have been nicer.

Yet, I think Ernie the Cat misses the boxes.  Everyone knows how cats love boxes.  These were no exception!  This project evolved over several, exciting months.  I was reluctant to blog about it until the crates were safely in Seattle (and ... yes ... I used FedEx tracking to see where they went every step of their west-bound journey!) 
 

The Giant Triptych

(Above:  Me with the two side pieces for a giant, commissioned triptych.  Click on any image to enlarge.)

For several months, I've been working on a couple of VERY LARGE commissions. They all started with correspondence discussing size and price, a proposal, a contract, and a schedule for required updates. It's been extremely exciting ... mixed with an expected touch of nervousness.  After all, this triptych was commissioned by an art consultancy for their client in Seattle, Washington. The artwork needed to please lots of people in very faraway places.  Thankfully, I know what I'm doing when using my own melting techniques!  Yet, this is bigger than I normally work!

(Above:  The finished triptych.  Please excuse the glare from the Plexiglas.  The sizes are 48" x 30" for each of the two side pieces and 48" x 40" for the center piece.)

Along each step of the way, I snapped photos in order to create the required PDF updates.  Some of the images are below, including ...

 

... a picture of me constructing the various layers of polyester stretch velvet on the center piece ...

... and a snapshot of the two side pieces after all the shapes were fused together on the two side pieces.

 

Here I am doing the free-motion, machine stitching on my Babylock Tiara.   

Here I am melting holes through the layers of synthetic material using a fine-tipped soldering iron.  There's even a video showing me melt one of the side pieces.  Because I posted it on You Tube, it has already been viewed more than seven-hundred times.  Yet, until now, I never mentioned that this was part of a commission.  Honestly, I kept this triptych under wraps until both it and a diptych were finished, crated, shipped to Seattle, and the final invoice was paid.  Yes ... there's a diptych too.  I'll be blogging about it as soon as I publish this post! 

Lost and Found II

(Above:  Lost and Found II. 14" x 14".  Found objects hand-stitched to a block of a vintage Drunkard's Path quilt. Found objects include: an old linoleum cutter; a metal coaster; two telephone ringers; six, rusty stars; beads and buttons. Click on the image to enlarge.)

Lost and Found I was a surprising success when shared here on my blog and on social media. It gave me the confidence to say, "This will be a new series!"  Of course, this new series is totally related to my Found Object Mandalas.  Both include found objects hand-stitched to sections of vintage quilts.  Yet, this new series allows me to design without conforming to the concentric circles that make the resulting artwork a true "mandala".  It also allows me to use one-of-a-kind things.  Ordinarily, I need at least four objects (other than the center medallion!)

I knew that the second piece would have to feature the linoleum cutter.  I'd tried several times to use it as the center of one of my Found Object Mandalas ... but it never quite worked.  I got the thing while enjoying an art residency at the Rensing Center outside Pickens, South Carolina.  In town, Bivens Hardware is a true delight. It is an independent hardware store that has been in the same family for years and years.  When I was browsing through the aisles, pulling open various drawers, I found this odd piece of metal.  I asked the owner, "Is this for sale?  If so ... how much? And ... by the way ... what is it?"  He laughed and admitted not seeing it for decades.  "It's a linoleum cutter.  How about two dollars."  To me, it looks just like the profile of a dinosaur head ... which makes it perfect for the concept of "lost and found"!

The rusty stars are elevated from the background quilt by buttons underneath them. I am anxious to start the next piece in this series, to use some of my stash that is otherwise "not quite right" for a mandala!
 

Not Beyond Repair

(Not Beyond Repair. 15" x 13" x 13". A collaboration with ceramist Gale Ray.  Broken ceramic shards crudely glued back together; repaired, vintage ceramic glove form; unraveled thread mixed into UV filtering epoxy; and letters clipped from vintage ephemera.  Click on any image to enlarge.)

I've been working on this piece for weeks.  That might sound like a lot of time but it wasn't.  I'd only spent about ten minutes a day.  That's all I could do at any one time.  I wish I could say that this was entirely my idea but it wasn't.  At this point, the story needs to back up a bit!

(Above:  Detail of Not Beyond Repair in progress.)

Months and months ago I applied for a solo show at Park Circle Gallery in North Charleston.  My Found Object Mandalas were accepted for October 4 - 31, 2022. There's even a public reception on October 7, 2022.  The email announcing the selection included the fact that my work would occupy half the space.  The other half was awarded to Gale Ray for her solo show.  Gale Ray is a talented painter and ceramic artist living in Charleston, SC, but until reading my acceptance email, I'd never heard of her.  She got much the same sort of email as I did.  She didn't know me either.  In fact, we still haven't met but we connected on social media and by telephone.  We are looking forward to our joint solo shows.

(Above:  Not Beyond Repair, in progress.)

During our correspondence, Gale suggested some sort of collaboration. Perhaps this idea occurred to her because it put a positive spin on a very negative situation.  One of her large ceramic vessels had recently been broken while traveling to an out-of-state juried show.  The piece was literally "in pieces".  Gale suggested sending the shards to me as the start of a collaboration.  She thought that I might "make a mosaic" but I really don't know how to do that ... not that I have more expertise or knowledge about gluing shards back together but that's what I did.  I also sent Gale a box of strange things for mark-making on a new piece of ceramics (not that she's going to do that ... because ... well ... she might have other ideas too!)

(Above:  Using the attachment to my miniature grinder to remove excess Gorilla glue.)

For two or three days, the shards sat on the top of my dry mount machine.  I tried to think how best to use them.  I attempted to drill a hole through one piece so that I could stitch through them. My 1/16" drill bit refused to do the job.  Finally, I decided to pretend I was in some museum trying to glue together the remains from an archeological dig. (This fantasy propelled the idea!) 

Of course, I don't know what glue would be proper but I do have Gorilla glue.  Of course, I don't know what sort of clamps would be proper but I have some cheap plastic clips. Between the expanding glue and the lack of flexibility in my makeshift clamps, I knew that a proper "reconstruction" wasn't going to happen.  Maybe that's why I didn't start photographing the process until I had most of the shards glued together.  Honestly, I didn't think this approach would work at all ... but it did!  (I really wish now that I'd photographed the "before" scene!)

(Above:  Detail of the letters clipped from vintage ephemera to spell out the title.)

Basically, I glued and clamped together a few pieces every day until they formed a "broken pot".  Toward the end, I started thinking about the word "collaboration".  Gluing shards together might have been "enough" but it certainly didn't meld my fiber art approach with Gale's ceramic approach.  Fibers were needed.  Plus, the piece was rather fragile.  What it needed was "more support".  I had an idea as to how to best proceed.  

For four days in a row, I mixed up almost a quart of UV filtering epoxy with a pile of unraveled thread.  The thread was leftover from my installation Threads: Gathering My Thoughts.  I knew this would work because I'd experimented with thread and epoxy before ... and blogged about it HERE. This couldn't be done in one day because the epoxy isn't formulated for that much density.  Yet, the epoxy would adhere to the inside of the vessel ... reducing the fragility.  Also, I added a repaired, vintage glove form.  After all, this was all "handwork".

(Above:  Detail of Not Beyond Repair.)

More than just "handwork", I added the vintage glove form because it brought a human element and sense of resilience to the collaboration.  Why?  Well, I'd been thinking about a title.  I didn't want something that related to either my fibers or Gale's ceramics but something that spoke to the act of reclamation, of mending, of putting things back together ... of REPAIR.  As I worked, I googled for quotations with the word "repair" and landed on one by Alexandria Ocasio-Cortez, New York's 14th congressional district's US representative.  I knew immediately that this was perfect: I just hope that more people will ignore the fatalism of the argument that we are beyond repair. We are not beyond repair. We are never beyond repair.

(Above:  Detail of Not Beyond Repair.)

The final touches to this piece were simple and straight-forward.  I used the attachment to my miniature grinder to sand away the excess Gorilla glue.  I painted the exposed edges of the shards with gold metallic paint mixed with GAC 200, an acrylic hardener that increases adhesion to non-porous surfaces, and added letters clipped from vintage ephemera to spell out the title: Not Beyond Repair.  Gold paint was used as a nod toward the Japanese technique called Kintsugi.  Liquid gold is used to mend broken objects.  Kintsugi "treats breakage and repair as part of the history of an object, rather than something to disguise."  I like that!

I don't know what Gale Ray will think of this piece and I don't know what she is doing with the items I sent her, but I look forward to the show in October!  It's going to be exciting to share a gallery and unveil our collaborations.  

Lost and Found ... perhaps a new series

(Lost and Found, 18" x 18". Found objects hand-stitched to a section of a vintage, utilitarian quilt.  Found objects include: a hand mirror frame; two brass socket plates; assorted thimbles; brass screw eyes; two bors d'oeuvre forks; two, brown canoe-shaped cocktail stirrers; a copper brioche mold; several religious charms; two sunflower buttons; two different sets of locks; two inlaid backgammon pieces; buttons and beads; and other assorted items in a tack embellished custom picture frame. Click on image to enlarge.)

Perhaps this is the start of a new series, something related to my Found Object Mandalas ... but not designed using concentric circles.  Perhaps not.  Time will tell.  It always does.  All I know right now is that I felt totally compelled to stitch this piece.  The hand mirror frame was just so intriguing.  It seemed "perfect" for a Found Object Mandala even though it clearly wasn't perfect.  It doesn't conform to a nice, round centerpiece and I certainly didn't have four of them.  I generally need at least "four things" in order to use them outside the center circle.  The four, spiral-ended metal pieces (of totally unknown function) came with the hand-mirror.  As soon as I lay them on the table, I could mentally "see" the design.  

The idea came together within minutes and the entire piece took less than a day. My husband Steve thinks it might be "too busy".  It might be.  Many people have tried to tell me that "less is more".  I generally nod, as if agreeing.  The little voice speaking from the back of my brain reminds me that "more is also more" ... and doesn't need a lofty, art-ease explanation.  

I am certainly from the "more is more school of art" but still not sure whether this is the start of something or simply a fun "one off".  Time will tell.  I always does!

Mandala CXIX

(Mandala CXIX. 37 3/4" x 37 3/4". Found objects hand-stitched to a section of a vintage quilt. Found objects include: a broken tambourine; a ceiling cover for a light; carved, wooden donkeys/mules; two types of coffee K-pods; four, bakelite purse handles; crochet doilies from an old tablecloth; round, brown circles of unknown function; four, chest latches; and buttons.  Click on any image to enlarge.) 

It's probably obvious that the inspiration for this Found Object Mandala was the carved, wooden animals.  Whether they are donkeys or mules or South American pack burros is unknown (and totally unimportant!), but I will think of them as mules.  They remind me of dawn while an artist-in-residence at Guadalupe Mountain National Park in west Texas ....

 ... and walking up the gravel road to the mule corral. I visited almost every morning, staring into the deepest, darkest, soul-filled eyes.  So, of course, when a box of carved wooden MULES was on a "table lot" at Bill Mishoe's auction, I bid ... successfully.  Not until I got the box home did I realize that I had different shades of wood and enough for more than one mandala!  

(Above:  The vintage quilt for this mandala.)

It might have been on the same evening that my friend Bert successfully bid on another table lot that included this vintage, utilitarian quilt.  Having no better use of it, Bert gave it to me.  With the odd arrangement of fabrics and the unbalance contrast, I wasn't totally sure this quilt would work.  Yet, when I put a piece of light orange netting over the top, it worked well.

(Ernie the Cat supervising the design process!)

Even Ernie the Cat seemed to approve!  I'm very pleased with this large addition to the Found Object Mandala Series.  So is Ernie and also my husband Steve. 

(Above: Detail of Mandala CXIX.)

Yet, Steve asked an interesting question:  Why are the legs of the mules pointing outward?  Honestly, I have no idea why I arranged then that way ... but I've started another mandala with more mules ... with their legs pointing inward.  Like real mules, they seem to go both ways! LOL!

(Above:  Detail of Mandala CXIX.)
 

Mandala CXVIII

(Above:  Mandala CXVIII. 22" x 22". Found objects hand-stitched to a section of a vintage quilt. Found objects include: a brass, snowflake shaped trivet; a small, silver brioche mold; six, decorative souvenir spoons from Germany; pin holders; yellow Tinker Toy connectors; an entire set of checkers (tan and brown); shower curtain hangers; paisley-shaped charms; four, brass hinges; beer caps; small, clear glass prisms; buttons and beads.  Click on either image to enlarge.)

On a recent weekend trip to Hilton Head Island, Steve and I visited several thrift stores in search of "multiples" for my Found Object Mandala Series.  Shopping with Steve is different from shopping alone.  I'm cheap.  I'll pass by items that have double-digit price tags regardless of how unique they might be.  Steve is easily the better shopper (which is why he's known by first name in our local grocery store! LOL!)  I would NEVER have considered the set of six, decorative souvenir spoons from Germany.  They were in a lovely clasped box and cost $30.  Steve, however, insisted they were perfectly wonderful. 

 

(Above:  Detail of Mandala CXVIII.)

Okay ... I admit it ... Steve was right!

Mandala CXVII

(Mandala CXVII. 27" x 27". Found Objects hand-stitched to a section of an antique signature quilt. Found objects include: a decorative, blue-and-white china plate; brass hinges; sky blue and clear plastic napkin rings; brass grommets; silver broiche molds; metallic blue Christmas tree light reflectors; keys; jingle bells; blue Tinker Toy connectors; small, round glass prisms; long needle-like parts of prostate radioactive seed implant devices; sewing machine bobbins with white thread; expired medical devices in clear/blue plastic containers; beads and buttons. Click on either image to enlarge.)

This is the last of four Found Object Mandalas stitched on sections of an antique signature quilt.  Like the other three, I just didn't work about the names of the anonymous stitchers.  I was more concerned with attempting to balance the arrangement and colors due to the fact that the solid blue applique seemed so much "heavier" than the other, floral printed fabrics. I'm not sure that I was totally successful but nonetheless, I do like the finished piece.

(Above:  Detail of Mandala CXVII. $550 plus SC sales tax and shipping.)

I've already finished the next piece and am nearly done with the one after that.  Like normal, I got behind on my blogging.  This time I have a good excuse.  The weekend was cold and rainy.  I participated in a local, outdoor art sale and nearly froze to death.  Okay ... that's an exaggeration ... especially since I live in South Carolina where "cold" is anything under forty degrees! LOL!  The sale was only on Saturday.  (Thank goodness!) I spent all of yesterday recovering ... which means I stitched in my nice, warm living room.
 

Mandala CXVI

(Mandala CXVI. 39" x 39" as a square; 55 1/2" x 55 1/2" as a diamond. Found objects hand-stitched to a section of a vintage quilt. Found objects include:  Yellow, plastic, circular knitting loom; sixteen children's toothbrushes with turtle handles; eight draw knob plates; Heineken beer caps; twelve, bright reddish-orange, plastic crabs (that squeak!); yellow, purple, white, and blue plastic bottle caps; brackets for a screen door; hinge pin door stops; neon green cocktail stirrers; white, circular pin savers; orange, plastic circles cut from a six-pack beer yokes; blue casino chips; purple, three-sided hair combs/picks; green, metallic Christmas light reflectors; buttons and beads.)

How could I possibly resist a box of brand new, bright reddish-orange plastic crabs that squeak?  They were in a box on a "table lot" at Bill Mishoe's auction.  I bid successfully ... which means I got everything on the "table lot" ... which meant "other things" in other boxes.  When I got home, I discovered the box of children's toothbrushes and the three-sided hair combs/picks too.  It was like hitting the jackpot ... which might account for the blue casino chips! LOL!

(Above:  Detail of Mandala CXVI.)

The drawer knob plates, the screen door brackets, and the hinge pin door stops came from the ReStore.  Other people donated the circular pin savers and most of the colorful bottle caps as well as the Christmas light reflectors.  I'm truly in debt to the generosity of other people.  Yet, I need some help too!  

(Above: Detail of Mandala CXVI.)

I'm supposed to teach two different workshops at QSDS in Columbus, Ohio. The first is a five day workshop (June 6 - 10) called "HOT".  This is the workshop that covers my In Box and Stained Glass melting techniques.  Every participant will go home with more than one finished piece.  One will even be in a provided frame.  There is no "supply list" ... other than a suggestion to bring one's own scissors because not all of mine are particularly sharp!  The other workshop is a two day experience called "One Woman's Trash is Another's Treasure" (June 11 and 12) .  This will be a fast and furious adventure covering all sorts of things ... from my fiber vessels, tagging keys, and how these Found Object Mandalas are made.  Again ... there is no supply list.  Yes!  I bring EVERYTHING for every participant.
 

(Above:  Mandala CXVI, hung as a diamond.)

One of the best things about QSDS is the fact that the studios are open 24/7.  I will be making work too ... lots of it.  Right now, there are only two people in the HOT workshop and four in the other one.  Basically ... this will mean plenty of one-on-one time in addition to the hours I plan on being available in the studio.  So ... if you've ever thought about an intense experience with me ... this is it.  If you know someone who would enjoy this, please spread the word!