Catchin UP: Round Five: Mandala C ... as in 100 !

(Above:  Mandala C ... as in Roman numeral 100 !  Custom framed: 13 3/4" x 13 3/4" when hung as a square. 19 1/4" x 19 1/4" when hung as a diamond.  Found objects hand-stitched to a section of a vintage quilt. Found objects include:  A gold Christmas light reflector; seven, bronze colored Dogfish beer caps; tiny brass hinges taken from small corrugated gift boxes; old keys; binder rings; antique, bone underwear buttons; clear sewing bobbins wound with yellow thread; four, corrugated centers from other Christmas light reflectors; and assorted sewing buttons.  Click on any image to enlarge.)

It's been just over a year-and-a-half since I started this Found Object Mandala Series.  I remember a thought from the beginning.  I wondered whether I would have enough "stuff" to finish the mandalas stitched on the first old quilt I cut into sections.  There was no way I would have believed that I'd hit the "one hundred" mark, but I did!

 

(Above:  Detail from Mandala C.)

Little did I know that there were generous people willing to donate to my stash.  Little did I know that my eyes would focus on "multiples" while haunting local thrift stores.  Little did I know that the series would be accepted in last November's Philadelphia Museum of Art Craft show and the upcoming 2022 Smithsonian Craft Show.  Yet, all of this has happened and I'm continuing to stitch more pieces.

 (Above:  Mandala C when hung as a diamond.)

At this very moment, I have three more pieces under construction.  One is quite large. One is quite small.  All will be finished, framed, photographed and shared here on my blog!  Life is good!

Catching UP: Round Four, Mandala XCIX

(Above:  Mandala XCIX. Custom framed: 18" x 18" when hung as a square; 25 1/2" x 25 1/2" when hung as a diamond. Found objects hand-stitched to a block of a vintage quilt. Found objects include: an octagonal shaped cookie rosette; dairy pull-tabs; Christmas light reflectors; Bud Light beer caps; single serving coffee K-pods; gray hair curlers; red protective, plastic corners for beveled mirrors when being shipped to our frame shop; and buttons.  Click on any image to enlarge.)

Between the holidays, solo exhibitions, and my day job custom picture framing, I've fallen a bit behind.  I'm not referring to my artistic pursuits ... far from it!  I've been as productive as ever!  It's just that my blogging has fallen behind.  So today, I'm determined to catch up!  This is the fourth of several posts featuring new artwork made in late December or early this year.  In fact, this is the first piece entered into my inventory book in 2022!

(Above:  Detail of Mandala XCIX.)

Like several other pieces in my Found Object Mandala series, this one was stitched on a block cut from a rather poorly made Dresden Plate quilt.  Yet, I adore the bright colors and the challenge of hiding the irregularities.  The ring of white, plastic dairy pull-tabs hides the fact that the center really isn't round.  It's very lopsided!  The protective layer of netting over the entire surface prevents the fragile fabric and poorly plied blanket stitches from being a future problem. 

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

Stitching down the old, Christmas light reflectors was also a wonderful way to celebrate the holidays!  Plus, I'm gearing up for the 2022 Smithsonian Craft Show, April 20 - 24.  This series was accepted! 
 

Catching UP: Round Three: Mandala XCVIII

(Above:  Mandala XCVIII.  Custom framed: 17 1/2" x 17 1/2" when hung as a square; 24 3/4" x 24 3/4" when hung as a diamond. Found objects hand-stitched to a block of a vintage quilt.  Found objects include: a blue, plastic lid on which was stitched a decorative copper candy mold; white dairy pull-tabs; dominoes; eight electric toothbrush attachments; wavy hair curlers; white plastic water bottle lids; assorted beads and buttons.  Click on any image to enlarge.)

This Found Object Mandala was stitched to another section of a rather poorly made Dresden Plate quilt.  The bright red background fabric is happily tremendous and worth the effort to figure out how to deal with the otherwise poor, original applique work and the fact that the center isn't really round at all.  Using the dairy pull-tabs, hid the lack of symmetry.  Over every one of my Found Object Mandalas, there's a layer of nearly invisible netting.  This netting protects the fragile material and damage ... though, one can see the ill-plied blanket stitch in places. 

(Above:  Detail of Mandala XCVIII.)

Despite the problems with this vintage quilt, I really do like the colors and pattern.  Each piece stitched on a block from this quilt is vivid and draws attention to itself.  I was especially happy to used these dominoes.  I've used other dominoes in the past but these are the kind my family had.  I'm very lucky that they were donated to my stash.  Thanks, Marguerite!

 

(Above:  Mandala XCVIII when hung as a diamond.) 

The electric toothbrush attachments came from a local church bazaar.  I am thankful that another good friend recommended this opportunity because I really scored all sorts of great things that Saturday morning!  Thank you, Sue!

Catching UP: Round Two, Mandala XCVII

 

(Above: Mandala CXVII.  Custom framed: 14 3/4" x 14 3/4". Found objects hand-stitched to a block from a vintage quilt.  Found Objects include: a decorate brass candy mold surrounded by two bracelets; laminated Tampa Nugget cigar bands; star-shaped charms; Newcastle Brown Ale beer caps; laminated 2-cent stamps, four aluminum brioche molds; beads and buttons.  Click on any image to enlarge.)

Between the holidays, solo exhibitions, and my day job custom picture framing, I've fallen a bit behind.  I'm not referring to my artistic pursuits ... far from it!  I've been as productive as ever!  It's just that my blogging has fallen behind.  So today, I'm determined to catch up!  This is the second of several posts featuring new artwork made in late December or earlier this month.

Lots of people ask in person and on social media, "Susan, do you ever sleep?"  They are constantly amazed that I manage to finish so many artworks.  Well, the answer to this silly question is obvious:  Of course I sleep!  In fact, I sleep an average of eight+ hours each and every night.  My productivity comes from two important factors.  

First, my husband Steve takes care of the cooking, cleaning, laundry, grocery shopping, bill paying, and outside lawn work.  By day, we work together in our custom picture framing shop, Mouse House.  It is the first floor of our downtown, historic house. As a result, if I'm not working on a client's order, I'm totally involved with my artwork.  Steve takes care of everything else. 

Second, I plan in advance ... not "long term" planning but short term realization of the hours during which I will be sitting in our cargo van or in front of the television or at my local auction house.  I make sure I have small portable projects planned and ready in advance.  Such is this small, Found Object Mandala.  I stitched it at Bill Mishoe's auction when watching the remains of other people's lives go up for bidding.  It is just small enough to fit into a bag.  Basically, I waste very little time.  Why waste time when I can be stitching!

Catching UP: Round One, Mandala XCVI

(Above:  Mandala XCVI. Custom framed: 22 5/8" x 22 5/8". Found Objects hand-stitched to a section of a vintage quilt.  Found objects include:  A glass lamp section over a clock gear; laminated pieces of a six-part paper calendar fan from 1910; shower curtain hangers; orange insulin needle caps; copper pennies from the UK; six, antique yellow bird Christmas ornaments; six drawer pulls; laminated Tampa Nugget cigar bands; four aluminum cookie cutters, buttons, and orange-and-yellow flowers cut from a decorative textile trim.  Click on any image to enlarge.)

Between the holidays, solo exhibitions, and my day job custom picture framing, I've fallen a bit behind.  I'm not referring to my artistic pursuits.  I've been as productive as ever.  It's just that my blogging has fallen behind.  So today, I'm determined to catch up!  This is the first of several posts featuring new artwork made in late December or earlier this month.

(Above:  The six pieces of a paper fan printed with a calendar from 1910.)

This Found Object Mandala was entirely inspired by a holiday party at the Red Lion Antique mall here in Columbia.  The entire place was decorated, had plenty of wine and finger food, and many booths offered special sales.  Steve and I had a very good time and I found a couple treasures like this six-part fan printed with a 1910 calendar.

(Above:  Detail of Mandala XCVI.)

I also found the adorable, glass bird Christmas ornaments.  I'm not sure how old they are but I knew I wanted to stitch them to a section of this particular, old quilt.  In my mind, I saw how the yellows and oranges would work together.  Yet, something was off.

(Above:  Detail of Mandala XCVI.)

Then ... and most unexpectedly ... a nice lady donated a large stash of "stuff" to my collection.  Among the things was a decorative fabric trim of yellow and orange flowers.  Once cut into small pieces and stitched to the surface, this mandala strung to life!  I am always so grateful to those who are contributing to my stash.  It is amazing how very many times the perfect "something" arrives just when it is most needed!

Anonymous Ancestors at Black Creek Arts Council in Hartsville, SC

(Above:  Anonymous Ancestors at the Black Creek Arts Council in Hartsville, SC.  Click on any image to enlarge.)

Yesterday was an awesome one!  It was a time spent installing my solo installation Anonymous Ancestors at the Black Creek Arts Council in Hartsville, SC.  Tonight is the reception from 5:30 - 7:00.  Receptions are always nice but hardly the reason for having a show.  For me, mounting the work is all wrapped up in the very concept.  It is a time when the individual pieces get to come out of boxes, out from "storage".  It is the opportunity to share the work, to pose the questions it asks, and to hopefully impact those who see it. 

(Above:  My iPhone takes panorama shots!  Who knew?)

It took most of Tuesday to collect everything.  The dozen boxes of framed photos are stored in an upstairs, former bedroom.  Most of the furniture is stored in a downstairs room. The hanging garments are elsewhere.  Once gathered near our back door, I'm almost scared! I know that I've got to squeeze it all into our cargo van.  Thankfully, I've done it often enough that I know it will fit!

(Above:  The gallery space before we started to install.)

Upon arrival,  everything is then brought into the space.  The photo above doesn't actually show all of it! There were several more things to the right of this grouping! The first thing done is to roll out the carpet.  Immediately, the gallery starts to take on the feeling of a old-time parlor.  The furniture is then placed.  I have a Victorian rocker, an arm chair, four folding chairs, a marble-top table, a glass-top table, a two-tier table, a wooden commode, a magazine holder, and a foot stool.  Most have been upholstered with fabric I designed, fabric featuring more photos.

(Above:  The wall with the signage and the guest book.)

The next thing to decide is the placement of the signage and guest book.  By tonight, there will be a low cabinet under this arrangement.  It was in the art center's lobby ... which will be cleared for the reception.  The executive director said she would move it into place sometime today.  It will be an excellent place for a few business cards.

Then, the three sculptural garments are placed.  Two are suspended from the ceiling.  Two have circular carpets.  These pieces lend a sense of "people".  The interior feels inhabited, more intimate, and also strangely familiar ... as if the sitting room of a stereotypical grandparent.

Once the three garments are up, it is time to tackle the walls.  The Black Creek Arts Council has a unique arrangement of walls.  In every other exhibition for Anonymous Ancestors, I've hung my Grid of Photos.  Here, there wasn't a wall with at least sixteen running, linear space.  Instead, the space is a series of carpeted wall sections that covered the former windows of the old building.  Between these soft, gray sections is the original, white painted wall.  This creates a unique "alcove" like area in which I hung ovals and crossbow frames. 

The largest framed anonymous ancestor were then hung in the middle of the carpeted sections.  From this point on, hanging the work is very much like solving a jigsaw puzzle.  Thankfully, I have more than 300 altered, old images.  By the time the last nail was hammered into place, more than 260 were on the walls.

Each one of these pictures features an anonymous person.  To each, I've added individual letters clipped from vintage ephemera.  The words describe a potential life ... like "Pillar of the Community" or "Town Drunk" or "Virgins on Our Honeymoon Night" or "Forgotten Family" or "Life Was Hard" or "First in My Family to Go to College" or "Mama's Boy". 

Steve and I worked right up until the Black Creek Arts Council closed.  Our timing was perfect ... finished at 5:01!

The framed signage reads:

To stand within Susan Lenz’s installation, Anonymous Ancestors, is to become immersed in the myriad of family stories handed down through generations. Each snapshot is a frozen moment on life’s time-line. Letters and words clipped from vintage print material allow one’s mind to wander, envisioning forgotten friends, past holidays, ancient occasions, former cars, and hilarious fashion trends. Yet, all the images are anonymous. The photos come from yard sales, auctions, and thrift stores. Who are these people? Who really knows? They are distant aunts and uncles, cousins, grandparents, siblings, and in-laws. They are society’s family tree, our collective wall of ancestors.

Susan invites visitors to sit for a moment, browse through the scrapbooks, albums, and altered images. Please use the provided white gloves while contemplating your own heirlooms.

The rest of this blog post simply features more images!  Enjoy!

 

145 Original Guestroom Artworks!

(Above:  Steve holding one of the 145 original fiber artworks headed for the new Cambria Hotel in Columbia.  Click on any image to enlarge.)

It all started more than a year ago when I was contacted by NINEdot Arts to submit two proposals for the lobby of the new Cambria Hotel slated to open in spring 2022.  The theme of the hotel is "fibers".  After all, Columbia was once a major textile producing hub.  I'd never had such an opportunity and was overjoyed to have been "found" and offered the chance to apply. Amazingly, I was awarded both installations. Over the coming months, I worked with the team to refine the ideas and brainstorm on everything from the interior designer's palette to the physical construction needs for the artwork.  I learned plenty, signed contracts, and sent required updates on the progress of the work. Along the way, NINEdot Arts learned that my day job is custom picture framing.

(Above:  One of more than a dozen selfies taken over the past year while visiting the hotel's construction site.  This image was taken last July.)

As a result, I was asked to frame a small piece selected for the individual guest room bathrooms.  I will not show a photo of it because ... well ... in my humble opinion ... it was unbelievably ugly, cheap-looking, and tacky. The reason for framing it was because a "spec room" was being installed inside a giant warehouse outside of town.  This makes sense.  A "spec room" allows the contractor, hotel representatives, interior designer, and any others heavily invested in the project to actually SEE what was being planned.  So ... of course ... they needed this ugly thing framed and hung in the "spec room."  

I was given a budget for the framing.  Then, I googled the company which printed the ugly piece of fabric and learned that it retails for $25.  Putting the amounts together, I couldn't help myself but to wonder what I might be able to do ... wholesale ... for the same amount.  It didn't take more than a day before I had two identical frames ready to deliver to the "spec room".  In one was the ugly thing.  In the other was one of my In Box series pieces created in the exact same color palette.  Both were delivered and I wrote an explanation to my NINEdot Arts contact. 

Soon, I had a contract for 145 original guestroom artworks!  The fun started months ago.  For me, this was a challenge.  It was a test of perseverance and emotional steadfastness.  I had to make sure that the last one was as original and unique and as fun to make as the first had been.  Below are some of the images and words sent in my progress reports.  Now, I can't wait for springtime and the chance to see my art in this new hotel.  (By the way, coming blog posts will document the two lobby installations!)

This is a stack of 145 pieces of Pellon 805/Wonder Under, a heat activated glue that fuses together the layers of polyester stretch velvet. Each piece was ironed onto a large rectangle of recycled black industrial synthetic felt that was once the protective covering for a kayak or canoe while it was shipped from a manufacture to River Runner. River Runner is an independent outdoor shop located one block to the west of the hotel. The owner, Guy Jones, has been donating this felt to me for years.

The photo above shows the felt with the pieces of Wonder Under ironed to it. The "whiteness" is a facing paper that is pulled away in order to expose the heat-activated fabric glue.

The photo above shows piles of polyester stretch velvet already cut into random squares and rectangles. All the pieces are cut by hand. The piles were replenished dozens of time during the construction phase. The fabric came from two different shops in New York City's fashion district, Spandex World and Fabric Wholesale Direct.

The photo above shows the 145 pieces after squares and rectangles of the polyester stretch velvet were ironed into a foundation layer. Each foundation layer is different and required no less than twelve minutes to compose.

The photo above shows the 145 pieces after additional pieces of polyester stretch velvet were layered and fused to the foundation level. All the pieces were cut by hand. Each piece required no less than twelve minutes to continue the compositions. There is an additional layer of Wonder Under ironed over the entire surface. This additional layer of heat-activated glue is needed in order to have chiffon scarves fused to the surface. The chiffon scarves further complicate the mix of colors while providing a smooth surface for the free-motion machine stitching.

The photo above shows the process of adding strips of chiffon scarves over the surface. The chiffon scarves are very, very thin and were order from a Chinese import company. Adding these strips was quite quick, each one requiring less than three minutes

The photo above shows four stacks of 30 pieces and one stack of 25 pieces. They are sitting on the floor of my studio beside my Tiara free-motion machine. These waiting stacks are ready to be free-motion stitched using 100% black cotton thread. Free-motion stitching is sort of like "drawing" with thread. The machine does not pull the fabric from the front to the back of the needle. It depends on the user/stitcher to move the fabric. It allows the fabric to be moved forward, backward, from side to side, in circles, or in any direction. 

I didn't take photos of me stitching or stapling each piece to a stretcher bar.  I stitched one after another until they were all ready to be melted.  Twelve pieces were stapled to twelve stretcher bars, taken to the garage, and exposed to the heat from an industrial heat gun.  The excess black felt was removed from the stretcher bars and the next twelve were attached.  Finally, I was ready to "neaten" up the "fringe" on the sides of each piece and attach them to mat boards.

While I was in Texas as the artist-in-residence at Guadalupe Mountains National Park, my husband Steve will built all the frames. Before leaving, I cut all the mats.  This is stack of 145 piece of mat board. Each piece measures 20" x 16", exactly one-quarter of a sheet of mat board.

Of course Ernie the Cat was intimately involved in every stage of this project.  Here he is on Steve's worktable supervising the installation of glass into every frame.  Because the artwork is "top mounted" (it is on top of a solid piece of mat board, not under the opening cut into a piece of mat board), the glass is held in place by strips of foam-centered board taped and glued to the interior sides of the frame.  This prevents the glass from coming into contact with the artwork. It creates a "mini shadow box" inside the framing package.  In the photo above, a strip of black foam-centered board is shown with two-way ... ready to be installed. 

By the time I returned from Texas, the back room looked like this.  It was at this point that I started the melting and mounting process.  As I worked, Steve installed each piece into the waiting frames.  Security hardware was added.  The work was put into boxes.

The back room now looks like this.  It has been a great experience in several ways.  I had to keep up my own enthusiasm, share the process with others who weren't familiar with fiber art and/or my personal approach, manage time and materials, and figure out how to store and transport so much artwork.  All the while, I was also keeping up with my own studio artwork.  Sharing this on New Years Day is also part of my hope for the coming year ... to be just as productive and engaged in the process of making ART!

Susan Lenz: Melting a Fiber Stained Glass Artwork. Christmas 2021.

Three Found Object Mandalas

(Above:  Mandala XCV.  Custom framed: 38" x 38". Found objects hand-stitched to a section of a vintage quilt. Found objects include:  Two clock faces; copper pastry molds; shower curtain hangers; assorted bottle caps; keys; laminated Tampa Nugget cigar bands and late 1930s/early 1940s Christmas seals; wavy hair curlers; green casino chips; blue and white plastic bottle lids; sewing machine bobbins; buttons; and colorful, vintage Christmas light reflectors.  Click on any image to enlarge.)

The past few weeks have been busy!  Despte having two solo installations open in Sumter, South Carolina and handling Christmas custom picture framing (day job!), I have made time to continue stitching new pieces in my Found Object Mandala Series.  I know that the Smithsonian Craft Show will be here in a matter of a few months.  It's scheduled for April 20 - 24, 2022.

(Above:  Detail of Mandala XCV.)

I'm very, very happy that this series has been accepted into this prestigious show but I am also well aware that I've happily agreed to having a solo show at Artisans on the Square in Greenville, Georgia.  The show is called Once and Again: Alterations ... and it will include a selection of Found Object Mandalas.  The nice gallery owner specifically requested "mandalas" for this opportunity that opens on April 23.  Obviously, all the artwork will have to be delivered before the Smithsonian Craft Show.  Thus, I need plenty of work before April!  Mandalas for both places!

(Above:  Detail of Mandala XCV.)

Thankfully, I absolutely adore stitching these pieces and I'm lucky enough to have friends contributing to my stash of found objects ... including Dolly Patton, Jinny Cherry, Flavia Lovatelli, Sue Porter Heiney, and Sabrina Corley Lindemann ... and likely others.  Once the items are mixed into the stash, it is hard for me to always remember those who so graciously donated ... but THANK YOU, one and all!

(Above:  Detail of a Christmas Seal from 1938 stitched onto Mandala XCV.)

Most of my stash, however, comes from Bill Mishoe's Tuesday night walk-around auction of used household things.  Recently, I bought a "table lot".  (Imagine a bunch of "stuff" piled onto a card table ... that's a lot ... and the successful bidder is supposed to haul away all of it whether wanted or not!)  I didn't even know that there were old Christmas seals among the things.  While laminating hundreds of Tampa Nugget Cigar bands and grocery store rebate stamps, I laminated them too.  They seemed quite appropriate on a Found Object Mandala featuring Christmas light reflectors.  It was fun to stitch this piece while listening to my favorite Pandora radio station ... Classical Christmas.

(Above:  Mandala XCIV.  Custom framed. 39 1/4" x 39 1/4" when hung as a diamond; 27 3/4" x 27 3/4" when hung as a square.  Found objects hand-stitched to a section of a vintage quilt. Found objects include a copper pastry cutter; a clear glass lamp part over an inlaid backgammon piece; two sets of olive forks; laminated grocery rebate stamps; purple and gold coffee K-pods; wavy hair curlers; two 2-part stainless tea infusers; palmetto tree charms; and buttons.)

One of the reasons that stitching these Found Object Mandalas is so much fun is that I'm often confronted with a new challenge.  Every time I cut up an old quilt, I am faced with new fabrics, new colors, and a new background pattern.  The sizes of my work are also determined by how the quilt is dissected.  Then, some objects seem to disappear and others seem to shine ... depending on the background.

(Above:  Detail of Mandala XCIV.)

Each piece is like a puzzle.  For this one, I had to figure out how to best use the olive forks.  I thought they were all the same, but they weren't!  Some were longer; some were shorter.  The copper pastry cutter, however, provided the perfect solution!

 

(Above:  Mandala XCIII.  Custom framed. 26 1/4" x 26 1/4" when hung as a diamond; 18 1/2" x 18 1/2" when hung as a square. Found objects hand-stitched to a block of a vintage quilt. Found objects include a gold-toned bracelet; a stainless steel lamp part on which an Arizona flag beer cap is stitched; galvanized washers; white plastic bottle caps; red, plastic protective corners for a mirror being delivered to our frame shop; screw eyes; Bud Light beer caps; insulin needles; Smirnoff bottle caps; flat, red vinyl African export beads; D-ring buckles; and buttons.)

 

I have several more blocks from this bright red, Dresden plate quilt. Designing on it is always a challenge especially since it was so poorly stitched!  The blanket stitches are sloppy.  The center circle really isn't circular. Yet, the piece really seems to have been loved and used a lot.  I enjoy giving it a "second life".

 

(Above:  Detail of Mandala XCIII.)

 I am already working on a couple more pieces and will soon be sharing them too!