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!

Mandala CCLXXVIII, Thomas the Tank Engine

 

(Above:  Mandala CCLXXVIII, Thomas the Tank Engine.  Custom framed:  25 3/4" x 25 3/4".  Found objects hand-stitched to a section of a vintage quilt. Objects include:  A wooden plate on which is stitched assorted beer bottle caps and the copper top of a cookie press; assorted cookie press discs; felt hammers for a piano; green lids with red rabies pet tags; eight, gold iced tea spoons; metal clips; blue lids; copper beverage can tabs; four, small Thomas the Tank Engines; assorted buttons and beads. Click on any image to enlarge.)

I worried about using the little Thomas the Tank Engines on a mandala.  I thought that it might result in an artwork that had too childish look.  I wondered if it would limit its attractiveness to a potential client.  After all, who really buys a piece of artwork costing over five hundred dollars to decorate a child's room?

 

(Above:  Detail of Mandala CCLXXVIII, Thomas the Tank Engine.)

But then I thought about it some more!  Just because I don't know anyone who would spend that amount to decorate a kid's room doesn't mean others feel that way!  Didn't I have original artwork in my kid's bedrooms?  Well ... yes I did!  Plus ... we bought a rather expensive platform and all the parts for a Thomas the Tank Engine station for that room!  That's when I realized that Thomas the Tank Engine has passed from the currently most popular thing for a boy into the realm of nostalgia!

 

(Above:  Mandala CCLXXVIII, Thomas the Tank Engine.)

The facts of the matter are that I associate Thomas the Tank Engine with my younger son ... who is now thirty-five years old!  Plus, the history of Thomas the Tank Engine is actually ten years older than my husband!  He first appeared in The Railway Series, a British's children's book by Wilbert Awdry in 1945.  His popularity in England grew and grew until he was a hit all over the world. The television program reached the USA in 1989.  In the 1990s, Thomas the Tank Engine was a sensation ... which accounts for my thinking of it as "childish" and not necessarily nostalgic!  Now, I just feel old! LOL!

Mandala CCLXXVII, Andy Warhol

 

(Above:  Mandala CCLXXVII, Andy Warhol.  Custom framed: 30 1/4" x 30 1/4".  Found objects hand-stitched to a section of a vintage quilt.  Objects include:  A yellow children's 45 record on which the face for a clock and a red button is stitched; plastic four-leaf clover lucky coins; miniature dominoes; blue plastic scissors for cutting decorative edges; ViewMaster reels; clamping scissors; cocktail forks; gold beverage can tabs; green rabies pet tags; brioche molds; red and green plastic lids; four Andy Warhol dishes; assorted buttons and beads. Click on any image to enlarge.)

This Found Object Mandala was entirely designed in order to use the four Andy Warhol dishes in the corners!  On the same day that I found the set at the Pickens County flea market, I also found the plastic numbers for a clock face.  They seemed to go together!

 

(Above: Detail of Mandala CCLXXVII, Andy Warhol.)

The challenge immediately became how to balance the center with such large, obvious objects going into the four corners.  Fortunately, I have a small stack of bright yellow children's 45s.  The clock face worked perfectly on top of it.  Still ... I knew that the middle area needed to be strikingly obvious too ... to balance out these other big shapes.

 

(Above: Detail of Mandala CCLXXVII, Andy Warhol.)

 I don't remember when I got the blue plastic scissors but they sure worked well!  Then, the rest of the items simply went into place!  This isn't always how I design my mandalas.  Often, it is just the "one thing" that leads to another but the entire design isn't worked out until several things are already stitched down.  This one, however, was totally designed before the first stitch!

 

(Above:  Mandala CCLXXVII, Andy Warhol as seen at an angle.)

I am thankful for my iPhone.  It is the only way that I can design an entire mandala.  After laying everything out, I snap a photo so that I can remember where the items go!

Mandala CCLXXVI, Mini Foosball

 

(Above:  Mandala CCLXXVI, Mini Foosball.  Custom framed: 18 1/4" x 18 1/4". Found objects hand-stitched to a section of a vintage quilt.  Objects include:  Miniature foosball figures; navy pea coat buttons; red and blue rabies pet tags on green and orange plastic lids; copper beverage can tabs; souvenir spoons; white toddler snack lids; part of a tea strainer on a yellow lid and a silver-plated dish and another decorative dish; Rosebud Salve lids; yellow plastic figures on horseback; assorted buttons and beads. Click on any image to enlarge.)

I've been really busy over the past two weeks.  My mind and hands have gone in several different directions!  First, I finished The Caution Tape Dress and went to Columbia for the Columbia Design League's "trashion fashion" show.  Then, I bought a "new toy"!  I am the proud owner of a scroll saw.  Soon enough, I'll blog about it ... but that's for another day!  Then, I signed up for Jane Dunnewold's Poetic Cloth, an on-line workshop that is supposed to be teaching me how best to use my Gelli plate with fabric instead of paper.  Yet all along, I've also been hand stitching every evening.  Over the next few days, I'll be posting the results of four Found Object Mandalas that were finished and just framed.  First up is Mandala CCLXXVI, Mini Foosball.

 

(Above:  Detail of Mandala CCLXXVI, Mini Foosball.)

I've had the tea strainer for at least a year.  It's been auditioned for potential inclusion several times in the past.  Finally, it worked!  The pea coat buttons have been collected very gradually.  The souvenir spoons were a find from the Pickens County flea market.  I don't think they were ever really "finished".  The vendor had a dozen or more but none of them included the typical, little picture of a particular location.  They were all blank!

Runaway Runway 2026 and the Caution Tape Dress

(Above:  My three models for Runaway Runway 2026.  Click on any image to enlarge.)

It's been almost two weeks since Steve and I went to Columbia for Runaway Runway.  I've been busy since then and am now just getting around to blogging about the experience!  So .. Runaway Runway was an event presented by the Columbia Design League, an affiliate group of the Columbia Museum of Art.  They used to have this "trashion fashion show" every year.  The last time that it was held at the Township Auditorium was in 2013 and I went in disguise in my Pantyhose Dress.  (Click here to read about it.)  Then ... there was a long hiatus.  I've had garments in other shows since then but now Runaway Runway is back!  It's also now back at the museum instead of the giant-sized event venue.

 

(Above:  The Caution Tape Dress under construction on a dress form that is older than me!)

The Red Carpet Dress has been in several shows (even one in Canada ... making it "international"!) and even in Fiber Art Now Magazine.  It was made from a section of the Philadelphia Museum of Art Craft Show's floor covering (a non-biodegradable, non-woven synthetic) and artificial flowers collected from cemetery dumpsters. The Class of '49 (also known as the Black Lives Matter Dress) was made from yearbook photos that were fused to a scrap of muslin and stitched on a tear-away stabilizer) has also been in another recycled artwear show.  It is a requirement for Runway Runway that the entries all be made from non-fabric/recycled materials!  This is the challenge and I adore a challenge!

(Above:  The Caution Tape Dress, photos courtesy of Keira McDermon.)

So ... for this show, I made one new design.  I used the caution tape that was recently part of my entryway installation to the Degenerate Art Show.  I blogged about it HERE.  Initially, I was just going to toss the caution tape ... basically adding to the amount of plastics in our landfills.  Instead, I stitched through strips that were woven until I had enough to stretch around the dress form that I inherited from my mother and grandmother.  I think it is older than me! LOL!  Then strips were stitched in a flowing skirt.  The attachment was hidden under a band of gathered caution tape.  I used grommets (found in my stash of potential objects for my mandalas) to close the back.  The hat was made from a old piece of six-ply mat board and yarn (stitched like one of my fiber vessels). It was embellished with artificial flowers collected from cemetery dumpsters.  All my designs looked great walking through a sold-out crowd and I'm already planning on a new look for next year!
 

Mandala CCLXXV: The Branded Monopoly Commission

 

(Above: Mandala CCLXXV: The Branded Monopoly Commission. Framed: 30 3/4" x 30 3/4". Laminated Monopoly money, playing cards, and pieces hand-stitched to the game board on top of a vintage quilt with additional objects ... including bottle caps, keys, golf tees, miniature plastic crowns, and assorted buttons and beads. Click on any image to enlarge.)

It was truly my honor to accept the commission for this unique Found Object Mandala from Margaret Wunderlich, gallerist and director of Chaos Contemporary Craft in Columbus, Ohio (a place that recently started representing my work!)  The process was straight-forward and even the shipping went well!  Below is part of the documentation PDF that I supplied with the artwork.

After receiving the branded American Express Monopoly Game, I laid out a suggested design on top of a piece of lavender colored mat board. This image was sent for approval and with the plan to add additional objects after these elements were firmly stitched to the selected vintage quilt top.

The photo above shows the selected vintage quilt top. This was placed on top of a piece of 100% cotton batting and a piece of a vintage tablecloth. These layers created the quilted surface for the piece. Over the top went a piece of an orange tulle/netting to protect any fragile materials/seams on the quilt top.

Twelve property cards, all the yellow "service" cards, all the orange "planning cards", and six of each monetary denomination were then laminated and then cut out. To avoid the attempt to stitch through

1) multiple pieces of lamination, 2) the game board, and 3) the underlying quilt layers, the following process was done:

A piece of Pellon's 806 Stitch-and-Tear (a tear-away stabilizer generally used to back dense layers of machine embroidery and other decorative stitching) was cut and lightly taped to the game board. Rings of "service" and "planning" cards along with two pieces of each monetary denomination were tacked/lightly hot-glued to the Stitch-and-Tear.

Anefil Poly thread (an extremely strong, twisted nylon thread that appears as a thin brown line attached to an almost camouflaged skinny needle in the photo above) was used to stitch the elements to the Stitch-and-Tear.

After the stitching carefully linked all the elements together, the Stitch-and-Tear was removed. This created a circle requiring fewer holes through the game board for its attachment. This was important as the design required 234 holes drilled through the game board!

There are four holes per green "house", nine per side or 144 total. There are five holes for each of two dice; forty-four holes along the perimeter for attaching the board to the quilt; and thirty-six holes used with small, silver beads to attach the circle of laminated cards/money to the board! Four holes were drilled through all the green “houses” and the red “hotels”.

Once everything was attached to the game board, the game board was stitched to the quilt. 

At this point, additional objects were laid on the surface. These include keys, golf tees, miniature plastic crowns, and assorted buttons and beads. This image was sent for approval. Once approved, these things were stitched in place.

After the last stitch, the piece was ready for mounting. The red “line”/thread shows the perimeter for the final presentation. The artwork was removed from this larger stretcher bar and stapled to one with an outer measurement matching the dimensions of the red “line”/thread. Before doing this, the final stretcher bar was covered with a piece of acid-free foam-centered board. Using the same drilled holes for attaching the game board to the quilt, the work was stitched to the foam-centered board … through the foam board, through the quilt, and through the game board. This is done to distribute the weight of the elements across the foam-centered board, thus avoiding any potential of sagging in the future. The piece was then put into a black floater-styled frame. The only glue on this mandala was used to attach the metal game pieces. It was simply too risky to attempt drilling 1/16th holes through the metal pieces in ways that could be used to stitch them in place. This is the only mandala I’ve ever made that includes any glued elements.

Finally, the work was carefully packaged and sent via FedEx to Columbus.  Happily, I received the photo above from Chaos Contemporary showing it hanging in its new home!  How grand!

 

 

Press release for the upcoming solo shows concurrently presented by Susan Lenz and Susan Perry

FOR IMMEDIATE RELEASE

Susan Perry and Susan Lenz open their concurrent art exhibitions: Cascades

Pickens County Museum of Art and History, PICKENS, SOUTH CAROLINA

307 Johnson Street, Pickens, SC

May 16- July 4, 2026

Opening reception: May 16, 2026 from 5:00 – 7:00 PM

Susan Perry and Susan Lenz, two Upstate fiber and installation artists, will present solo shows responding to concepts found in their joint exhibition title, Cascades. The exhibit opens at the Pickens County Museum of Art and History, 307 Johnson Street in Pickens, SC on May 16 with a reception that day from 5:00 – 7:00 PM. Elan DeHaro will take viewers on a musical journey during the reception. The exhibit runs through July 4, 2026. Perry and Lenz will be showing new work that explores traditional and experimental combinations of paper, fabric, and found materials. Both artists create sculpture forms, immersive installations, and incorporate reusable, natural and man-made materials. Yet, their individual approaches are uniquely different.

Susan Perry’s kinetic, kite-like sculptures developed from a contemplative practice of Sumi ink drawings, marbling, and paper-making. Some of these three-dimensional works will be suspended from the ceiling; others will sit below suggesting a stream of conversation. Her collages were inspired by local waterfalls. Susan Lenz’s work also suggests the movement of water. More than one-hundred units of collaged fabrics will meander across three walls as if tracing the route of one of the area’s many creeks. Strips of lace hand-stitched into eight-foot long, plant-life strands will cascade down another wall.

However different, Perry and Lenz’s works compliment one another. Both acknowledge the changing face of land use, the natural world of the Upstate, and how plant/fiber materials connects us to land, lakes, and rivers. The two artists are linked through textiles, something that defines local industry, history and even the very identity of Pickens County. For well over a century, Upstate women saved fabric scraps, buttons, paper, and photographs. These seemingly mundane objects served as reminders of personal stories and special memories. Perry and Lenz are no exceptions to this habit of intuitive collecting. They both use their saved materials in their studio practices. Found objects are featured in both artists’ shows. Perry will use a traditional, wooden apple tree ladder in her area; Lenz has incorporated found objects stitched into tidal wave profiles.

Though Perry’s and Lenz’s work will be presented in two different parts of the second floor museum space, the two have been in regular communication regarding their concept and the progression of their individual presentations. “I think we’ve pushed one another to think broadly about our materials and especially about the way we respond to our chosen theme, Cascades,” says Lenz. Perry agrees, stating, “Throughout this past year, I’ve been inspired to find new ways to use paper to express water as a central feature of our Pickens County landscape.”

The Pickens County Museum of Art and History is open Wednesday through Friday from 9:00 AM to 5:00 PM and on Saturday from 10:00 AM to 2:00 PM. The museum can be reached at (864) 898-5963.

For more information, please contact the artists through their websites:

www.susanlenz.com

www.susanperry.art

###

 

Tidal Wave XVII, Upholstery Cord

(Above:  Tidal Wave XVII.  Donated upholstery cord hand-stitched to a section of a vintage quilt with layered buttons.  Custom framed:  33" x 33". Click on any image to enlarge.)

Recently I received a most incredible donation of vintage and antique quilts, a big bag of upholstery cording, and several other items.  I was a little overwhelmed and truly awed by the generosity but I had no idea what I might do with the upholstery cord.  I've received similar lengths of expensive trim in the past.  I've generally given it away, mostly to art teachers and school groups.  This time, however, it just didn't feel right (and since moving, I haven't established a good place accepting this sort of material.)

(Above:  Detail of Tidal Wave XVII.)

I dumped all the cording out onto the floor in order to think about how I might use it.  The colors all seemed to work well together (which isn't really unusual when coming from a single household!  People do seem to decorate with well coordinated colors!)

 

(Above: Detail of Tidal Wave XVII.)

Then, I looked at the donated quilts. One seemed perfect for the upholstery cording.  Soon enough, I was pinning the lengths into a tidal wave formation.  Dozens upon dozens of pins were used.  I think there are some still buried in the layering!

 

(Above:  Tidal Wave XVII as seen at an angle.)

 

It took days before everything was stitched in place.  I also quilted the background with pale lavender perle cotton thread and added an outline of buttons ... stacked units of three buttons!  I'm really pleased with the result.  It really was a challenge!

 

Tidal Wave XVI, a miniature

 

(Above:  Tidal Wave XVI, a miniature. Custom framed: 12 3/4" x 14 1/4".  Found objects, buttons, and beads hand-stitched to a section of an old quilt made from scraps of men's suits. Click on any image to enlarge.)

Each one of my newly finished, miniature tidal waves presented a challenge.  This one was no different.  I had to figure out how to deal with the very dark background, especially since the original quilt blocks were embellished with a dull red herringbone stitch.

 

(Above: Detail of Tidal Wave XVI.)

After stitching all the objects in place, I spent an evening embellishing the background so that my added embroidery coordinated with the red herringbone stitches that were already there!  Since I really love decorative stitching, it was a great way to spend the evening.  It has already inspired the next piece ... another little tidal wave but one that will need plenty of work to handle its bright orange and deep blue, shibori dyed background.  (No!  I didn't dye the fabric!  I just had enough sense to purchase it from a thrift shop where it was priced ridiculously low!  So ... give me a few days, I'll be posting the results soon!)