I'm really pleased with these first four "Fiber Stained Glass" pieces created in my new studio. It took a little time to find everything and establish some sort of work flow but I really do think this new space is going to be as ideal as I first imagined. Yet, some of my "normal" habits didn't quite work out! I forgot to take photos of two of the four pieces! Oh well! It's too late now! All four were taken to the Grovewood Gallery in Asheville where I've been represented for over a decade. I hope, however, that in the future I remember this important step!
I created two vertical pieces, one horizontal piece, and one geometric design that can be hung in either orientation. Best of all, I used my brand new wood burning tool! Why? Well, wouldn't you know it! My M.M. Newman miniature soldering iron was malfunctioning. It just wasn't getting as hot as it normally got. Perhaps it just didn't want to move to this textile mill church. Perhaps it was about to "die". They do this after several years! In desperation, I called the company and ordered a replacement, but I also asked if they had a tool that got even hotter than their G Model which gets up to 750 degrees. (They have larger soldering irons that get hotter but I want the miniature tips!)
Well, the salesman was interested in what I was doing. I directed him to my website. He was impressed and suggested the wood burning tool ... but with a needle nose tip instead of the standard tip. This tool gets to 800 degrees. What a difference fifty degrees make! I am so happy!
(Above: Large Lancet VI. Framed: 20" x 50". Layers of polyester stretch velvet fused on black recycled felt with free-motion machine stitching and unique melting techniques. $900.)
Each piece is hand-stitched to an oversized, acid free mat board and put into a frame with "spacers" so that it doesn't come in contact with the glass. The glass is special too. It's "crystal clear" framing glass. 78% UV filtering and anti-reflective. I could have snapped photos of the other two pieces even after they were in their frames because there's almost no reflection ... but ... like I said ... I forgot!
In the coming days, I will likely have to spend time fusing WonderUnder/Pellon 805 to several yards of polyester stretch velvet. These four exhausted several different colors in my stash. Pre-work seems to always be necessary after the success of making so many new pieces!
3 comments:
Hi Susan,
I always love looking at your work close up and admiring the fine details.
I have a question this time however. In the Large Lancet Vll, on the right hand side of the photo, in the second panel from the bottom, the 3 circles, did you mean to only have 2 'burn out slashings' in the middle circle?
I know many years ago a lot of people left something like this in their work so that it wasn't quite perfect. Do you normally do this and I just happened to spot it this time, or was it an oversight?
What a lovely new studio space you now have!!
Best Wishes, Sue
OMG! I know that Amish quilters are among those who intentionally leave some, very small "err" in their work as to not offend God by making anything that might be called "perfect". For them, only God can do that! I've never done this. It took my a while to find the unmelted marks but they are there! You just found them! Sometimes while stitching the work to the mat board, I find a missed place ... but not this time! Oh well! It's too late now! The work has already been delivered to the Grovewood! One way or the other, THANK YOU for reading my blog, liking my work, and especially for leaving a comment! Susan
I can identify with your 'Oh well, it's too late now'. I finished an embroidered family sampler that I had designed way back in 1990. It had a complex border around the edge which looked just right, so I went ahead and had it framed.
However,immediately I had got it back from the framers I could see a piece of the design missing from the lower edge, in fact I can't unsee it all these years later!
Sue
Melbourne,
Australia.
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