Mandala CCLXXXI, The Red Rooster

(Above:  Mandala CCLXXXI, The Red Rooster.  Custom framed:  31 1/2" x 31 1/2".  Found objects hand-stitched to the section of a vintage quilt. Objects include:  A red rooster trivet; red, plastic forks; small orange-red checkers on large, metal washers; ViewMaster reels; discs for decorative patterns on a vintage sewing machine; drawer handles; four, red aluminum "Smokey the Bear" ashtrays; Kodachrome slides; toddler snack lids; Grizzly chewing tobacco lids (upside down); keys; vintage pilot pins; white plastic lids; heart-shaped rabies pet tags; assorted buttons and beads.)

Some mandalas start with a circle of multiple objects.  Some start with the desire to place four unique items in the corners.  This one started with the red rooster trivet!  Designing it was a challenge to create balance with this very obvious and very red center.

 

(Above:  Detail  of Mandala CCLXXXI, The Red Rooster.)

To pull the eye, I immediately auditioned the ViewMaster reels because they provided high contrast.  From there, more items were added but I only designed the center before stitching.

 

(Above:  Detail  of Mandala CCLXXXI, The Red Rooster.)

 It wasn't until the drawer handles were firmly stitched in place that I addressed the corners and edges.  Thank goodness for the red "Smokey the Bear" ashtrays.  They are definitely vintage!  The embossed words say "Prevent Forest Fires".  Nowadays, it wouldn't be deemed appropriate to even make flimsy, aluminum ashtrays ... much less ones featuring Smokey the Bear regardless of the embossed words!  Time change.  Some "found objects" are now obsolete but perfect for my mandalas!

(Above:  Mandala CCLXXXI as seen from the side.)

Mandala CCLXXX, The Dart Board

 

(Above:  Mandala CCLXXX, The Dart Board.  Custom framed:  27" x 27".  Magnetic dart board and other found objects hand-stitched to a section of a vintage quilt.  Other objects include:  Toy car wheels, keys, assorted bottle caps, blue plastic in the shape of a small tube, and assorted buttons and beads.  Click on any image to enlarge.)

I'm not exactly sure when SAQA (Studio Art Quilt Associates) posted their call-for-entry for an upcoming global/traveling exhibit called Sensational but I do remember seeing it after I created Mandala CCXLVII.  The call for entry is summarized as follows:

See it, touch it, hear it.  Let your artwork engage the senses in this no-theme exhibition that will allow viewers of all ages to experience textile art in ways not usually allowed.  Embrace the challenge to create art that is appealing not just visually, but also through sound, touch, or interactive components.

When I first blogged about my earlier mandala, I wrote:  "This Found Object Mandala is truly unique!  The center is a plastic target.  The protruding, flexible bristles will literally "catch" the point-less darts."  When I first read the call-for-entry, I knew this piece would qualify.  Because the call allows artists to submit three pieces, I will probably submit both of these works ... but ... I wondered if such a small (16" x 16") piece would really look appropriate in an exhibit that will most likely feature larger works ... and ... well ... why couldn't I make a larger dart board.  I certainly had enough time.

 

(Above:  Detail of Mandala CCLXXX, The Dart board ... with darts.)

So ... this is really the first time I actually ordered something for one of my Found Object Mandalas.  The magnetic dart board wasn't "found" (unless you consider "finding it" through an Internet search!)  It is, however, hilarious because it really and truly works!  For the photo above, Steve literally threw the darts onto the artwork!

 

(Above:  Detail of Mandala CCLXXX, The Dart Board.)

I have no idea whether I'll have work accepted into the show or not.  These opportunities are very, very competitive.  I do know, however, that I had a blast making this piece and that Steve doesn't care if it gets in or not.  He'll have fun throwing the darts at it!

In Box CDLXXVI

 

(Above:  In Box CDLXXVI.  Layers of polyester stretch velvet fused to white synthetic felt with hand embroidery and melting techniques.  Click on either image to enlarge.0

Several of my fiber Stained Glass and In Box series pieces are framed using an expensive anti-reflective/UV filtering glass.  This "crystal clear" glass is one step below the ultra expensive "museum glass" but still quite a bit more costly than regular glass.  Steve and I try to use every scrap of it.  Recently, a piece was accidentally broken.  Steve cut it into the largest possible pieces.  I have designed works to fit the glass!  This is one of them!

 

(Detail of In Box CDLXXVI as seen at an angle.)

I like these unique challenges.  I'm especially pleased with the way I was able to raise the work off the mat board.  It is mounted on little square of acid-free foamcore that "sit" on top of the mat.  Thankfully, the rest of the broken glass was able to be cut into the sizes I ordinarily make.  Everything is A-okay!

Large Stained Glass XCII

 

(Above:  Large Stained Glass XCII.  Custom framed: 54" x 22". Layers of polyester stretch velvet fused to black, recycled packaging felt with machine stitching and melting techniques. Click on any image to enlarge.)

I haven't turned my full attention to making artwork for The Summer Craft Fair of the Southern Highlands at Harrah's Cherokee Convention Center in Asheville but I am very well aware that a full booth of my In Box and fiber Stained Glass series will be needed.  The show runs from July 16 to 19, 2026.  I have lots of pieces on hand but need several others ... including this one!  

 

(Above:  Large Stained Glass XCII leaning again my booth wall here inside my studio ... beside other work that will be going to the show!)

I have plenty of time and lots of new ideas.  I'm simply missing a few of the normal sizes/styles that I ordinary create.  Thus, I'm sort of splitting my time between the various projects that are "in the works".  

 

(Above:  Detail of Stained Glass XCII.)

I especially like having more than one or two projects going at the same time.  I think it makes me more efficient.  When I'm questioning myself about one piece, I can easily take a just steps away to another piece.  While working, the answers I need seem to pop right into my head!

 

(Above:  Detail of Stained Glass XCII.)

I can never get bored with one approach because switching from one piece to the next is super easy.  Right this minute, I've got more than three pieces in various stages of production!  My only problem seems to be that they often find a conclusion on the same day!  I don't know why this happens!  I try to anticipate it by starting "something new".

(Above:  Detail of Stained Glass XCII.)

I also like to have at least one hand-stitching project going at all times because pieces like this one aren't hand-stitched.  I don't work on them during the evening while watching television.  Only hand-stitching is done then.

(Above:  Detail of Stained Glass XCII.)

During the day, however, my machine can hum along on pieces needed for the upcoming craft show!

Large In Box CDLXXVIII

(Above:  Large In Box CDLXXVIII.  Custom framed: 34" x 22".  Layers of polyester stretch velvet fused to recycled black packaging felt with free-motion machine embroidery and melting techniques.  Click on any image to enlarge.)

I'm excited to be part of The Summer Craft Fair of the Southern Highlands inside the Harrah's Cherokee Convention Center in Asheville, NC. The show will run from July 16 - 19, 2026. In anticipation, I am busy creating new work in my Fiber Stained Glass and In Box Series.  This one was just finished, framed, and photographed.

 

(Above: Detail of In Box CDLXXVIII as seen from an angle.)

I have plenty of the pieces to make in order to have a full booth and at least one of every style/size/approach.  There's plenty of work for me to make!

Cascades, my solo show at the Pickens County Museum of Art and History

 

(Above:  Me with Cascades, my fiber art installation! Click on any image to enlarge.)

I can't believe that its been more than a week since the opening reception for the concurrent solo shows at the Pickens County Museum of Art and History.  Susan Perry and I decided on the title Cascades ... because we knew that my Lace Forest would look fantastic when displayed in its alternative presentation ... namely ... as Cascades!  It took Steve and me a half day to install this work.

(Above:  Before installing Cascades.)

Part of the reason it took so long was simply the effort to wheel all the tubs and boxes into the museum and ride the elevator to the second floor gallery.  Then, we set up the pipe system and secured the tops of each pipe directly to the wall in order to avoid any possibility of it tipping over!  One by one, the strands of lace were zip-tied around the top aluminum brace spanning the lengths between the poles.  There are fifty-four strands in all!

Finally, Cascades was flowing down that long wall!  Please notice, none of the other walls had artwork!  Those were addressed the next day!

The outer/exterior walls were hung with my Tidal Wave series ... including the largest made of all the plastic that would have otherwise been thrown into a landfill ... and the one covered with all-white puzzle pieces.

One corner held the tidal wave made of upholstery cord and trim as well as two of the miniature tidal waves.

This is a view from the opposite end of the long space.  Unfortunately, I forgot to snap pictures of the wall on which my five "button tidal waves" were hung.  Trust me!  That look great!

The small tidal wave that I call "Starburst" went between the two featuring the springs salvaged from inside an antique Victrola. 

The interior walls were also hang with artwork.  My Patchwork Installation meandered like any of the Upstate South Carolina rivers ... down one wall ... around to the next wall ... and around another corner too!  I shot a video of it.  CLICK HERE to see it on YouTube!

The reception was well attended and lots of fun.  It happened the evening after the annual juried show at the Blue Ridge Arts Center in Seneca, SC opened.  I was glad that I could attend both, especially since I won a first place ribbon in the Mixed Media category!  Now, please scroll down for two more images of Cascade!

My Open Air Montana art residency presentation!

 CLICK HERE to access the video!  

Found Object Tidal Wave XVIII

 

(Above:  Found Object Tidal Wave XVIII.  Custom framed: 28 1/2" x 30 1/2".  Found objects hand-stitched to a section of an antique quilt. Click on any image to enlarge.)

Originally, this piece was supposed to hang in my solo show at the Pickens County Museum of Art and History.  Steve and I hung the show last week while I was still stitching it.  We were supposed to leave a space for it; we forgot!

 

(Above:  Detail of Found Object Tidal Wave XVIII.)

We did leave a space but it was too small.  Thus, I had to finish another, smaller tidal wave that I started but thought would take "forever" to complete.  It did take hours and hours but I managed.  I blogged about it HERE.  Then, I finished this one.  Maybe it will go in a future show?  Who knows! LOL!  

 

(Above:  Detail of Found Object Tidal Wave XVIII.)

This piece was constructed on an antique quilt that sort of resembled a crazy quilt due to the herringbone stitches embellishing all the pieces.  It was also a signature quilt.  Names were embroidered in several of the blocks, often in very high contrast to the dark fabrics.  I picked out several names but I'm now wondering if I'd do that in the future with other sections of this quilt.  I really enjoyed adding decorative embroidery beside and around the existing stitches.  I think I could integrate the old stitching with my new stitches.  Perhaps that will be my next tidal wave!  

 

(Above:  Found Object Tidal Wave XVIII as seen at an angle.)

Waccamaw Recognition, artwork for Bullets and Bandaids

 

(Above:  Waccamaw Recognition.  30" x 38". Individual letters clipped from new and vintage ephemera gelled to the surface of a machine embroidered art quilt coated with UV filtering epoxy.  The text was taken from the May 5, 2005 concurrent House of Representatives and Senate resolution.  Click on any image to enlarge.)

For the past few years I've worked with Bullets and Bandaids, a non-profit that connects veterans and civilians through a unique process the that involves a veteran's recorded interview being shared with a writer.  Then, the resulting essay is shared with a visual artist. More than three hundred people from fifteen different countries have participated. Four books have been published to share the essays and artwork.  I've written several essays and made three artworks.  Now, Volume 5 is underway and I was asked to create an artwork from the essay written by my friend Dr. Ed Madden about Chief Buster Hatcher.

(Above:  Detail of Waccamaw Recognition.)

I thought long and hard as to how best to approach an artwork.  All sorts of ideas presented themselves in my mind.  Many included Native imagery and symbolism but the nagging voice from the back of my brain said, "Don't do it! You could easily be accused of cultural appropriation!"  

(Above: Waccamaw Recognition as seen at an angle while hanging on my north facing brick wall.  The lighting was such that reflections from the UV filtering epoxy weren't bad but the coloring went toward a yellowish-tint that even Photoshop couldn't eliminate without interfering with the colors of the letters.) 

The content of the essay was also considered but the scenes described were brutal. The narrative was filled with discrimination and violence, but it also mentions how Chief Hatcher was instrumental in getting the State of South Carolina to officially recognize the Waccamaw tribe, the first tribe to be so honored.  I was impressed by the effort to turn bad experiences into a positive legacy for the future.  To that end, I sought out an official document, something filled with respect and honor.  I found the concurrent House of Representatives and Senate resolution from May 5, 2005.  There's a possibility that ... once upon a time ... I even framed it!  Mouse House did an awful lot of framing for resolutions from the late 1990s until we retired.

 

(Above:  Waccamaw Recognition inside my church/studio ... where straight-on reflection from the UV filtering epoxy was terrible but the colors were more accurate!)

 

Letter by letter, I wrote out the concurrent resolution (using painters tape to keep the lines straight and after mapping out placement!)  One of my "artist statements" says that I am convinced that I was a kidnapper in another life due to my obsession with letters snipped from various ephemera.  It is true!  I have three different collections of letters ... all neatly stored in tiny trays.  Thank goodness!  There were 1,698 letters in the text!

 

 Here's the text:

 

 A CONCURRENT RESOLUTION

CONGRATULATING THE WACCAMAW INDIAN PEOPLE ON RECEIVING THE HIGH HONOR OF BEING RECOGNIZED AS A “TRIBE” BY THE SOUTH CAROLINA COMMISSION FOR MINORITY AFFAIRS.

Whereas, the ancestors of today’s Native American Indians inhabited the land of the present day South Carolina; and

Whereas, Native American Indians have traditionally exhibited respect for our finite natural resources through a deep reverence for the Earth; and

Whereas, many ancestors suffered and perished in the lands to which their descendents now maintain a powerful spiritual connection, as is evidenced by their customs and legends; and

Whereas, Indian people are resilient and determined to preserve, develop, and transmit to future generations their unique cultural identities; and

Whereas, Native American Indians have served with valor in all of the Nation’s wars from the Revolutionary War through Operation Iraqi Freedom; and

Whereas, Native American Indians have made distinct and important contributions to the United States, South Carolina, and the rest of the world in many fields, including agriculture, medicine, music, language, and art, and they have distinguished themselves as inventors, entrepreneurs, spiritual leaders, and scholars; and

Whereas, such statewide recognition of the contributions of Native American Indians to the United States and South Carolina will encourage self-esteem, pride, self-awareness and respect in Native American Indians; and

Whereas, such statewide recognition will allow all South Carolinians of all backgrounds to demonstrate their respect of and admiration for Native American Indians for the richness of their contribution to the political, cultural, and economic life of the State of South Carolina; and

Whereas, the National Museum of the American Indian was established within the Smithsonian Institution as a living memorial to the Native Peoples and their traditions. 

 Now, therefore, be it resolved by the House of Representatives and Senate

Two New Hand-stitched In Box pieces

 

(Above:  Composite image of In Box CDLXXIII and CDLXXIV.  Framed:  21 1/4" x 17 1/4".  Layers of fused polyester stretch velvet on synthetic white felt with cotton floss hand embroidery and melting techniques.  Click on any image to enlarge.)

Recently, I applied for membership in the Southern Highland Guild.  Eligibility is restricted to counties in or abutting the southern Appalachian mountains.  Pickens County is one of only four in South Carolina that qualify.  My application sailed through the first round of consideration. For the final round, applicants can select to bring five pieces for a three-panel jury to score or participate in the upcoming summer craft show in Asheville.  Since my reason for seeking membership has everything to do with the opportunities for being in the guild's craft shows, I opted for this second choice.  That also means that I am now steadily increasing my inventory of In Box and Fiber Stained Glass work to go into my craft show booth.  These two are just the beginning!

 

(Above:  Detail of In Box CDLXXIII.)

The craft show will be held in the Harrah's Cherokee Convention Center in downtown Asheville, NC from July 16 - 19, 2026.  I have lots of work already available but this is a great excuse to make even more!  I love stitching these!

(Above:  Detail of In Box CDLXXIV.)

Button Tidal Wave "Starburst"

 

(Above:  Button Tidal Wave "Starburst".  Framed: 21 3/4" x 25 3/4".  Buttons and beads hand-stitched to a piece of tie-dyed fabric.  Click on any image to enlarge.)

I don't know who dyed the background fabric.  I found several pieces of this indigo blue and bright orange material in a thrift shop and couldn't resist buying it.  That was several years ago.  I don't generally buy or use fabric in most of my work (except for polyester stretch velvet!) Yet, I bought every scrap while thinking about the anonymous woman who had to be pleased with the results of her efforts but somehow didn't save it.  Was she simply downsizing her stash?  Did she die?  Did her relatives not appreciate the beauty of this unique fabric?  I'll never know. I'm glad I rescued it because this tidal wave couldn't look better!  Yet, I have no idea what I might do in the future with the rest of the gorgeous fabric.

(Above:  Detail of Button Tidal Wave "Starburst".)

I used all the navy blue, six-hole buttons and several small navy buttons to fill in the area around the button outline of the tidal wave.  After the last one was in place, I stood back and didn't like what I saw.  The tidal wave needed to obscure the dyed background fabric.  I started filling in the spaces between the buttons with colonial knots.  I ran out of the purplish-blue thread but was given a plastic bag filled with plenty of royal blue floss.  As I stitched, I realized that the entire wave didn't need to be filled in.  At the bottom, there's random blue and lilac-colored beads.  The lower right corner isn't filled in at all.  Thus, there is a subtle motion in the colors.

(Above: Button Tidal Wave "Starburst" at an angle.)

This entire piece was actually designed to go into a standard 16" x 20" ornate, silver frame that Steve and I bought at the local thrift shop for a whopping three dollars.  When I started designing it, I had no intention for this piece to be included in my upcoming solo show, Cascades, at the Pickens County Museum of Art and History.  I thought all the dense stitching would "take forever".  Instead, I planned on finishing another, large tidal wave for that show.  I was wrong on both counts!  First, I didn't leave a place for the large tidal wave when installing the work.  Second, I managed to finish this piece for the small place I did leave in the show!
 

Two new Peacock Feathers

 

(Above:  Peacock Feathers XLV and XLVI.  Framed:  31" x 11".  Real peacock feathers on polyester stretch velvet with free-motion machine embroidery and melting techniques. Click on either image to enlarge.)

One of the reasons for moving to Pickens County was the fact that membership in the Southern Highland Guild is restricted to artists living in places that are part of the Southern Appalachian mountains.  I intended to apply shortly after we moved but didn't get around to it until a month or so ago.  I've proceeded through the first step in the jurying process.  There are two ways to tackle the second/final step to become a member.

 

(Above:  Detail of a Peacock Feather.)

Many people chose to bring five of their artworks to the Folk Art Center for a panel of jurors to examine.  They score the work. If high enough marks are achieved, that artist gets to become a guild member.  I didn't elect to do that.  The other option was to participate in the upcoming craft fair, July 15 -18 at the Harrah's Cherokee Convention Center in downtown Asheville.  The reason I've wanted to be a member was in order to do this craft fair and also have my work in one or more of the galleries operated by the guild.  Of course, I first had to ask permission from the Grovewood Gallery.  After all, I already have proper gallery representation in Asheville.  Thankfully, I was told YES!  So ... I'll be showing pieces from my In Box Series, my Fiber Stained Glass Series, and ... of course ... my Peacock Feathers!  I'm happy that these two have a date at the craft fair!

Mandala CCLXXIX, Children on a Porcelain Plate

 

(Above:  Mandala CCLXXIX, Children on a Porcelain Plate. Custom framed:  39 3/8" x 39 3/8".  Found objects hand-stitched to an antique quilt. Objects included: A porcelain plate; copper rabies pet tags; paint brushes; dominoes; prisms; ViewMaster reels with vintage poker chips; beer bottle caps; crochet circles from an old tablecloth; drawer pulls; assorted buttons and beads. Click on any image to enlarge.)

I'm not quite sure what sort of quilt this antique bed cover should be called.  It really isn't a crazy quilt.  It was designed in blocks with a large center featuring a black fabric circle.  The blocks really weren't put together from random bits of fabric.  Yet, the seams were all embroidered with neat herringbone stitches, just like many crazy quilts.  For more than two years, I resisted using it, cutting it ... but finally, I had something for the center ... a beautiful porcelain plate.  I could resist no longer!

 

(Above: Detail of Mandala CCLXXIX, Children on a Porcelain Plate.)

The other thing about this antique quilt had to do with the size of the center block.  It was big ... as in the width and height of two of the outer blocks.  I knew that a mandala would have to be equally big!  Another challenge was figuring out just how much of the surface should be covered.  On many of my other Found Object Mandalas, the underlying quilt isn't as obvious.  Some people look at all the objects for several minutes before realizing that there's a quilt!  Even other quilters don't always "see" the quilt first.  With this one, however, I wanted the beautiful antique to be noticed on first glance.  Thus, I had to work hard to find the objects that balanced the white of the porcelain plate but also allowed the dark fabrics to still be visible.  

 

(Above:  Mandala CCLXXIX, Children on a Porcelain Plate as seen at an angle.)

I wanted the fabric blades extending from the black circle to still be part of the design.  So ... for the first time ... I decided to use glue on sixteen glass prisms.  Why?  Well ... they are clear!  They wouldn't take away from the quilt but they only had one hole ... at the top.  Sure ... I know how to stitch them down but I worried that the threads weren't going to be enough to keep them firmly in place.  Thus, I did use hot glue.  One can see the hot glue through them but it fortunately doesn't look bad!  I'm very pleased how this piece turned out!