Wednesday, May 28, 2025

YoYo Greeting Cards

 

(Above:  Dozens of YoYo blank greeting cards.  Each card is 5 1/2" x 4 1/4".  Click on either image to enlarge.)

Sometimes, I just need a slight diversion from more serious, time-consuming work.  Some times, I also need to replenish small things others seem to like (and purchase!)  Last week, both these needs converged and I started a flurry of activity ... transforming scraps of handmade paper and painted canvas into bases for vintage fabric yoyos ... making lots of small greeting cards!  How did this happen?  Well ... I was looking for "something".  I now can't remember what but my hands fell among the scraps of handmade paper and painted canvas that I keep on a shelf.  I thought to myself, "Susan, what are you keeping this stuff for?"  My answer was this!

 
(Above:  The same greeting cards packaged into half-dozen groups.)

Ordinarily, I package my greeting cards individually but this time I decided to put six (each totally different from one another) in a single cellophane bag with six envelopes.  They are now randomly available for $40 including shipping within the USA inside small, flat rate USPS boxes.  If you want one, just drop me an email at mouse_house@prodigy.net.  I'll send you a PayPal invoice (and you don't even have to have a PayPal account to use their system!)

Friday, May 23, 2025

Reasons for Tears, installation update

 

(Above:  Some of the individual handkerchiefs from my new installation, Reasons for Tears, drying on a makeshift clothesline in my sanctuary studio.  Click on any image to enlarge.)

The first few handkerchiefs stitched for this installation were done while I was relearning how to best stitch text on ultra thin fabric using an adhesive backed, water-soluble stabilizer.  I've got the process down now!  There are forty-two finished handkerchiefs but the list of grievances is growing daily.  

(Above:  Reasons for Tears in progress.)

I've put a temporary hold on this project.  Why?  Well ... I shared this installation on social media.  It included my address so that anyone could send another handkerchief for me to use.  Several people responded saying that they would mail a donation, but ... to be perfectly honest ... I don't know yet if all these nice people were serious.  Are there handkerchiefs winging their way to me in Cateechee?  I hope so but I also don't know how many might be coming. I'll wait a couple days to see what the postman brings!  Please scroll down to see a few of the ones that are ready for to be exhibited.







Thursday, May 22, 2025

Mandala CCXXXII

(Above:  Mandala CCXXXII.  Custom framed: 22" x 22".  Found objects hand-stitched to a section of a vintage quilt.  Objects include: A woven trivet; a door knocker; kitchen drain strainers; wooden ends of flag dowels; metal tags for suspected meat; washers; vintage poker chips; children's scissors; coat hooks; ten-cent food credit tokens; assorted buttons and beads.  Click on either image to enlarge.)

It's been well over a week since I last posted a Found Object Mandala.  Momentarily, I've had a slight blip in this series.  We forgot to order more stretcher bar for mounting!  This piece was left stapled to its larger stretcher bar, a heavier duty piece of wood.  It had to wait until our supply was replenished.  As such, I haven't started a new one either.

 
(Above:  Detail of Mandala CCXXXII.)

In the meantime, I've been stitching on my new installation, Reasons for Tears, and also transforming a large number of vintage yoyos into handmade greeting cards.  Plus, more wooden thread spool Christmas ornaments are under construction.  More posts coming soon!  Promise! 

Sunday, May 18, 2025

Reasons for Tears, a new installation

 

(Above:  A vintage handkerchief on which I've free-motion stitched a "reason for tears".  Click on image to enlarge.)

For me, this is risky ... but it is hardly the first time when I've gone out on a political limb to express my opinions.  In 2020, I created How Lucky Am I: White Privilege as my way of coping with the trauma caused by the murder of George Floyd and other Black Lives Matter issues.  I've made other politically charged artwork too but, for the most part ... especially on social media ... don't rant about my liberal leanings and don't criticize those expressing an opposite point of view.  I truly believe that both sides ought to LISTEN MORE and TALK LESS ... but that doesn't seem to be happening in elite circles.  I also believe that if one isn't part of a solution, one is part of the problem.  So, I'm at a crossroads now.  Keeping quiet doesn't solve anything at all.  Creating this new installation might not solve any problem either but at least I can be counted among those who believe/know that President Trump is harming our country both internationally and here at home.

Several weeks ago I was approached to participate in a group exhibition called Entartete Kunst: Jasper's Degenerate Art Project.  (Click the link to learn more about it, including the title's historical reference to 1937 Nazi exhibit of what they considered "degenerate art".)  I said yes and sent this proposal:

Reasons for Tears: An Installation of Altered Handkerchiefs

My studio practice is rooted in the act of reclaiming and reimagining forgotten, overlooked, or obsolete objects—items others might consider mundane or destined for the landfill. For this project, I have collected over one hundred vintage handkerchiefs, which I will transform using free-motion machine embroidery. Each handkerchief will be inscribed with a phrase—a "reason for tears"—expressing grief and dismay in response to executive orders and policy proposals from the Trump administration, particularly those impacting economics, foreign affairs, immigration, the environment, culture, and the rights of marginalized communities.

These embroidered handkerchiefs will be suspended in a site-specific yet adaptable/flexible installation, bearing silent witness to sorrow and protest. Together, they will speak to the emotional weight of systemic intolerance, racial injustice, economic instability, the erosion of human rights, political polarization, and countless other causes for mourning.

With the formal announcement of the upcoming Jasper Project exhibition, I will launch a crowd-sourcing campaign to collect additional handkerchiefs and phrase suggestions. If possible, a notebook will accompany the installation, inviting visitors to contribute their own "reasons for tears," allowing the work to evolve in dialogue with its audience.

(Above:  The first seven finished handkerchiefs.)

Each handkerchief is free-motion stitched using an adhesive-backed, water-soluble stabilizer.  Once stitched, lots of rinsing is involved to dissolve that tissue.  It is a time consuming task and the list I have is lengthy but I truly want others to be involved ... if only to express themselves, count themselves among those who are seriously worried about the direction the current administration is taking.  So ... if you are so inclined, please mail a handkerchief (preferably one of those pretty vintage ones!) to me at 320 North Church Street, Central, SC 29360.  I promise to send a thank you note to your post-marked address.  Also, please scan over the list of "reasons for tears" below.  Email me your addition to mouse_house@prodigy.net.

1. For Kilmar Abrego Garcia who was illegally deported to El Salvador

2. For Robert F. Kennedy Jr. casting doubt on the safety of vaccines

3. For Robert F. Kennedy Jr.'s statements suggesting that vaccines might cause autism

4. For a judge ruling that Columbia student Mahmoud Khalil can be deported

5. For the State Department telling employees to report on each other for anti-Christian bias.

6. For the The Trump administration moving forward with cutting Maine's K-12 funding over transgender kids in girls' school sports.

7. For the White House replacing a portrait of former President Obama with pop art of Trump with his fist in the air after the assassination attempt on him.

8. For on-going confusion over tariffs

9. For targeting books perceived to be dealing with DEI and "gender ideology" for removal from libraries.

10. For threatening to revoke Harvard's tax-exempt status

11. For planning an overhaul of the Endangered Species Act by redefining the word "harm"

12. For issuing a halt to construction on a New York wind energy project that would power 500,000 homes

13. For a transceiver for Musk's Starlink satellite network on the roof of GSA headquarters

14. For sparking a constitutional crisis

15. For putting tariffs on an island of penguins

16. For withdrawing the USA from the World Health Organization

17. For changing the acceptable level of water pressure in shower heads

18. For criticizing FEMAs efforts after Hurricane Helene

19. For declaring that U.S. policy recognizes only two sexes, male and female.

20. For directing agencies to ensure federal funds “do not promote gender ideology.”

21. For trying to end all diversity, equity, inclusion and accessibility programs, policies and mandates across the federal government.

22. For directing the government to terminate all positions related to DEI

23. For DOGE and its over-reaching guidelines to streamline the government

24. For revoking security clearances of former intelligence officials

25. For repealing Biden-era executive orders, including the task force aimed at reuniting migrant families

26. For repealing Biden-era executive orders, including protections for LGBTQ people

27. For repealing Biden-era executive orders, including those dealing with climate change

28. For threatening birth right citizenship

29. For the United States withdrawal from the Paris Agreement

30. For renaming the Gulf of Mexico as the Gulf of America in federal references.

31. For calling for a physical wall and other barriers on the southern border

32. For ending DEI programs in federal agencies

33. For revoking two of Biden's executive orders on abortion access which sought to ensure safety at clinics and pharmacies

34. For barring transgender people from serving in the military

35. For allowing service members discharged from the military for refusing the COVID vaccine to be reinstated and receive full back pay, benefits, or compensation.

36. For ending gender-affirming medical care for minors

37. For directing the Education Department to prioritize school choice programs through its discretionary grants

38. For the tariffs on Canadian and Mexican imports

39. For escalating the trade war with China

40. For declaring that the U.S. will not participate in the United Nations Human Rights Council

41. For eliminating the Federal Executive Institute

42. For eliminating paper straws in federal agency buildings.

43. For commencing a reduction of The Presidio Trust, the Inter-American Foundation, the United States African Development Foundation and the United States Institute of Peace.

44. For Elon Musk twice doing what resembled a Hitler salute

45. For pardoning more than 1,500 people convicted for January the riot charges

46. For seeking to block federal funding to NPR

47. For suggesting that the US would takeover Gaza and turn it into a lavish beach paradise

48. For Trump supporting Defense Secretary Pete Hegseth after he shared sensitive military attack plans with a journalist

49. For calling Ukraine President Volodomyr Zelensky a dictator

50. For threatening to take over Greenland

51. For suggesting Canada would become the fifty-first state

52. For signing an executive order to eliminate the Department of Education

53. For purging top staff of the National Archives

54. For shuttering the White House Office of Gun Violence Prevention

55. For slashing jobs at the Department of Veterans Affairs

56. For RFK Jr. downplaying the severity of a measles outbreak in Texas

57. For baselessly blaming a deadly mid-air collision of a military helicopter and a passenger jet on DEI initiatives

58. For claiming the U.S. spent $50 million on condoms for Gaza

59. For claiming the US spent millions making mice transgender

60. For Trump’s takeover of the Kennedy Center for Performing Arts and declaring himself its chairman

61. For the Naval Academy library’s purge of books by Maya Angelou while retaining Hitler’s Mein Kampf.

62. For the Pentagon briefly blocking web pages and training materials dedicated to the Tuskegee Airmen, the Navajo codebreakers, Jackie Robinson, and Women Airforce Service Pilots (WASPs)

63. For ordering a crackdown on supposed “anti-American ideology” at the Smithsonian Institution

64. For cutting thousands of jobs at the Forest Service and National Park Service

65. For Trump calling pollsters criminals who should be investigated

66. For plans to move against sanctuary cities

67. For granted coal-fired power plants a two-year reprieve from a requirement to reduce harmful emissions

68. For reducing the minimum wage for federal contractors

69. For stalling the implementation of a rule that would protect miners from silica exposure

70. For limiting federal workers’ collective bargaining agreements

71. For gutting the worker safety agency NIOSH

Wednesday, May 14, 2025

Ag + Art Tour 2025

(Above:  Stitching with a family during the Ag + Art Tour.)

Just when I thought there were no photos from the recent Ag + Art Tour, Steve mentioned taking a couple when I was hand-stitching on the prepared public art project.  It was a fun way to show kids how to attach a button or to quilt through layers of vintage scraps.  It was a great weekend ... and the next weekend was fantastic too!

(Above:  Beastie II on left; Beastie I on right.)

Why?  Well ... we went to a dealership in Greer to look at a cargo van.  We ended up buying it!  There's a story here, and it goes like this.  Once upon a time, Steve and I bought a little red Toyota Cross.  It happened on May 12, 2022.  Our thought was to drive this new car instead of our cargo van ... except when delivering an art installation or doing a show like the Smithsonian Craft Show.  After all, Beastie the Cargo Van had logged lots and lots of miles.  We thought that we could extend its life until the time when we were too old to haul a booth full of art all around the country.  Then, we bought our church.  For several months, Beastie the Cargo van made weekend trips from Columbia to Cateechee ... moving most of our possessions.  It's a 250+ mile round trip. Beastie logged lots more miles ... too many miles.  We had to admit that we needed a new cargo van.  We traded in the little red car and got a great deal on Beastie II.  Paperwork was filed and keys exchanged on May 12, 2025 ... exactly three years after we got the car.  Although we've been a "two van family" in the past, there's no need for this sort of arrangement now.  Beastie I leaves this coming weekend.  He is going to one of the guys at Complete Car Care back in Columbia, someone who has maintained Beastie since the beginning.  Beastie I is soon to become a camper van!  What a good life!

Monday, May 12, 2025

Mandala CCXXXI

(Above:  Mandala CCXXXI.  Custom framed: 27 3/8" x 27 3/8".  Found objects hand-stitched to a section of a vintage quilt. Objects include:  The face of an exterior thermometer and a brioche mold on four pieces of crochet and a decorative piece of aluminum; red and white, plastic bottle caps; clear, plastic side combs; View Master reels; drawer pulls; belt buckles; silver Mardi Gras doubloons; decorative charms; assorted buttons and beads.  Click on any image to enlarge.)

I finished this mandala before going to the Smithsonian Craft Show but didn't get it mounted and framed.  Without the frame, I can't hang it for its photo op. The framing happened when we returned but that week was really crazy!  I never touched my camera.  Instead, Steve and I spent three days sweeping, scouring, dusting, scrubbing, and all out cleaning the entire place.  It was exhausting but we are really happy to have it so fabulously tidy!

(Above:  Detail of Mandala CCXXXI.)
 
Why all the cleaning?  Well ... on May 3 and 4 we were part of the Pickens County Ag+Art Tour.  Our doors stayed wide open from 10 - 5 on Saturday and 1 - 4 on Sunday.  That prior week of cleaning also included all the tiresome tasks that have to occur after an event like the Smithsonian Craft Show ... paying sales tax, marking sold work in my inventory book, filing receipts, putting the booth away, etc.

(Above:  Detail of Mandala CCXXXI.)

What kept us going during that week of cleaning was the anticipation for the Ag+Art Tour.  For us, it served as an open house for our new home/studio in this old textile mill village church.  Lots and lots of people came and some even purchased artwork (totally unexpected and absolutely not why we so badly wanted to be part of this event!)  We were so busy chatting with visitors that neither of us took a single picture!  It is a shame but .... we've already been told that our place will be on next year's tour!  In all livelihood, this place won't be as neat and clean until then!  In the meantime, I managed to take these pictures of the most recently finished Found Object Mandala!
 

Saturday, May 10, 2025

Sue's Environmental To Do List 2025

(Above:  Sue's Environmental To Do List 2025.  Vintage Sun Bonnet Sue blocks altered with call-to-action phrases and Earth Day buttons.  Hand-stitching.  Each one framed: 15" x 12".  Click on any image to enlarge.)

On and off over the past month I've been hand stitching environmental call-to-action phrases on yet another set of Sun Bonnet Sue blocks. After creating The Feminist To Do List, Sue Goes to the Protest, Sue's Thank You Notes, and the first Sue's Environmental To Do List ... well ... I never thought I'd end up with another group! But that's what happened! LOL!

Because the first Sue's Environmental To Do List was sold through 1stDibs, I decided to return to this important idea.  There were twenty in the first set.  This one has only fourteen.  This set wasn't in great condition and it was actually quilted.  The batting, however, was all balled up and unevenly distributed.  It took plenty of time to cut the quilt apart and remove the scraps of batting but it was worth it.

Fourteen individual frames presented several solutions for display.  I put the work flat on the floor, ascended into the loft, and aimed my camera straight down ... in three different configurations.  It's totally cool to be able to do this!  It's quite an advantage to have one's studio in a former church sanctuary.  Not everyone has a loft! LOL!

Not everyone has this much floor space, especially not such gorgeous wood.  Every day I count my blessings and am so thankful for this studio!


Thursday, May 01, 2025

The Smithsonian Craft Show

(Above:  My Smithsonian Craft Show booth as seen from the second floor of the National Building Museum in Washington, DC.)

With the daily, political chaos and suddenly raising unemployment rate in Washington, DC, both Steve and I were really worried about this year's Smithsonian Craft Show.  Would we break even?  Would we lose money?  How would we maintain positive energy from Wednesday night's gala through closing time at 4:00 PM on Sunday?  Honestly, we were nervous!

 
(Above:  Me in my booth.  Photo by the incredibly talented Luana Rubin who visited on Friday afternoon!)
 
It turned out that none of our fears were warranted.  In fact, this year's Smithsonian Craft Show was my booth's best experience!  The crowd was steady.  Sales were good.  We brought home lots fewer artworks than we expected.  Plus, Booth 400 looked GREAT.  More photos below!
 

 It is always such an honor to be among the 120 selected fine crafts artists at this show.  Thank you to everyone who came, who bought, and who talked to me!  





Thursday, April 17, 2025

The Gown's Story

(Above:  The Gown's Story.  Custom framed:  61 1/2" x 45 1/2".  An 1860 handmade Swiss wedding gown, crocheted glove, and AI generated story on a damask tablecloth. Hand and free-motion machine stitched.  Click on any image to enlarge.)

I first saw this wedding gown when my friend Ellen Kochansky hung it in her solo show at 701 CCA back in 2009.  It was fragile then but also simply gorgeous.  Ellen used it once again in a later place.  The condition only worsened. 

 
(Above:  Embedded Energy by Ellen Kochansky.)

Recently, Ellen gave the gown to me.  It was no longer in a condition that would allow it to hang.  The pleated bodice, puffy sleeves, and the ruffles that were to peek through hemline slits are all but disintegrating.  The lacy middle panel needed to be totally reconstructed ... but I still adored this gown.  It spoke of history and preciousness and wedding vows.  Still ... I wasn't sure if I could actually use it for anything at all despite my desire to "give it a second life" (or in this case a third or fourth or fifth ... depending on just how many generations loved and wore it!)

 
(Above:  The Gown's Story in progress.)
 
Meanwhile, I saw the SAQA (Studio Art Quilt Associates) call-for-entry for  AI: Artistic Interpretations, a juried global exhibition.  Okay ... I rolled my eyes. I was under the impression that anything AI related was "bad for artists".  I thought that using Chat GPT would eliminate an artist's unique voice.  I believed that any trace of individualism would be replaced by boring, academic-sounding art-ease, the sort of style that puts most people to sleep.  I worried that all art statements, if composed through an AI program, would sound pretty much alike.  I expressed these feelings with Nicole Jurain, a talented ceramist who I met a couple years ago while we were doing the Smithsonian Craft Show.  Nicole is wise; her advice has proved to be very, very good.  She encouraged me to give Chat GPT a try. I resisted.  Nicole went ahead and put my general statement through Chat GPT.  OMG!  It was WONDERFUL!  (It immediately replaced the words I wrote for my website.)  This got me wondering what else could Chat GPT do?  Could it come up with a story for this threadbare wedding dress?

 
(Above:  The Gown's Story in progress.)

I googled for Chat GPT.  I asked it to write a short story in the voice of an 1860s, handmade Swiss wedding dress that was sent to NYC and worn through generations until Susan Lenz transformed it into an art quilt.  I had no hope for anything worth reading.  It took a matter of two or three seconds before these charming words appeared on my computer screen:

I was born in Switzerland in 1860, stitched from smooth ivory satin and sent across the ocean to New York. Anna first wore me on a crisp autumn morning, my fabric rustling as she whispered, Yes, I will. I felt her joy, the warmth of her groom’s hand, the sway of their first dance.

Folded away, I emerged for Anna’s daughter, then her granddaughter. Each bride altered me slightly, but I remained, wrapping new hearts in love. Time wore me thin—a stain from a toast, a tear from an embrace. By 1942, young Margaret wore me as war loomed, clinging to love amid uncertainty.

Now, I am no longer whole, but I am not forgotten. In Susan Lenz’s hands, I will live again—not as a gown, but as an art quilt, stitched with the memories of generations, a testament to love that never fades.

Again, I was stunned.  How utterly lovely.  I started free-motion stitching this bit of fiction (based on the few facts I knew!) onto a piece of vintage damask sandwiched with some cotton batting.   Then, I taped a larger piece of batting to my floor.  Over it, I lay the rest of the damask tablecloth.  The trailing back of the gown was trimmed off.  Most of the back was cut away.  An arrangement started to materialize. 

(Above:  The Gown's Story in progress.)

My original plan was to baste the dress and the words to the damask and then stitch a layer of ivory bridal tulle/netting over the top.  The netting was supposed to protect the fragile fabric, prevent any flaking satin from falling away.  My plan just didn't work.  First, basting gave way to lots and lots of tiny hand-stitching to keep the garment as flat as possible and to adequately attach it to the damask.  Second, the netting just couldn't stretch enough over the dress and still remain flat over the rest of the piece.  There was nothing to do but to move on to Plan B.

 
(Above:  The Gown's Story in progress. This is the stage where the garment became like a giant "patch".)

Plan B required hundreds and hundreds of tiny stitching.  The dress, once firmly attached to the underlying damask tablecloth and batting, was covered with the ivory tulle.  The tulle was hand-stitched to the edges and along every row of lace in the center panel.  It was stitched around all the hemline slits, the entire bodice, the sleeves, the glove, etc.  Once finished, I free-motion machine stitched around the perimeter and cut the garment out ... effectively creating a giant "patch".  This was the only way I could think of to protect the fragile material and keep the thing relatively flat.  

 
(Above:  The Gown's Story in progress.)

I knew that if I attempted to attach this "patch" to another layered/quilted piece of fabric, it probably wouldn't hang straight.  It would end up hanging in some distorted manner.  So ... I had Steve build me a 60" x 44" stretcher bar.  I stapled an over-sized piece of acid-free foamcore to the stretcher bar.  Cotton batting and another damask tablecloth were stretched over the surface and stapled to the sides of the stretcher bar.  The dress "patch" and the words "patch" were pinned down. Then ... I rigged up a station for more stitching!

 
(Above:  The Gown's Story, detail.)

Assorted white and off-white buttons were then stitched around the perimeter of the "patched" ... through the edges of the "patches" and through the tablecloth, batting, and the foamcore.  Lots of additional stitches were plied to distribute the weight of the garment and firmly attach it to the substrata.  It is flat.  It hangs without distortion.  I love it as much as I did back in 2009.  

 

(Above:  Detail of The Gown's Story.)

Today, I entered it into the SAQA AI show.  Odds are long for an acceptance but that doesn't matter to me.  I am over the moon with the success of transforming this precious dress, giving it a second life. I learned plenty, especially the fact that Chat GPT is my friend.

 
(Above:  Detail of The Gown's Story from an angle.)
 
Chat GPT even helped write the 700 character statement for the piece:

Initially, I had no interest in using AI or entering this show. But when a friend ran my artist statement through ChatGPT, I was surprised by the results—fluid, insightful, and strangely moving. I wondered what story AI might invent for an 1860s wedding gown recently donated to my stash. One factual prompt produced a vivid fiction. Inspired, I reimagined the gown, stitching it into a new narrative shaped by both hand and machine. The Gown’s Story gives the dress a second life, exploring the intersection of memory, fabrication, and the evolving role of AI in storytelling and art.

Wednesday, April 16, 2025

Mandala CCXXX

(Above:  Mandala CCXXX. Custom framed:  26 3/4" x 26 3/4".  Found objects hand-stitched to a section of a vintage quilt. Objects include:  A souvenir ashtray from Portugal with an orange faucet handle; 1970 UAW buttons; dominoes; syringe tops; Chinese ceramic figurine beads; gold, plastic St. Patrick's Day lucky coins; green bottle caps with white and gold shank buttons; screw eyes; miniature clothespins; beer caps; clear, plastic birthday cake candle holders; crochet pieces; four toy frogs; assorted buttons and beads.  Click on any image to enlarge.)

Every night after dinner, I hand-stitch while watching television.  This piece was done sometime last week but didn't get framed until yesterday.  It was a lot of fun.

 
(Above:  Detail of Mandala CCXXX.)

It also required plenty of drilling.  In order to stitch an orange faucet in the center of the Portuguese ashtray, I had to drill lots of holes.  More holes were needed to stitch it to the quilt.  I was determined to stitch the gold-and-white shank buttons on top of the green, plastic beverage caps too.  Believe it or not, I had to use a 1/4" drill bit to accommodate the shank.  I tried to use the 1/4" drill bit first but it tore up the lid.  I had to start with a much smaller drill bit and work my way up to the larger one ... some twenty-two times with each size!  It was worth it though!

(Above:  Detail of Mandala CCXXX, at an angle.)

Generally, I don't use glue to attach any of my objects.  This time, however, there's a dab of hot glue under every one of the Chinese ceramic figurine beads.  It was the only way to keep them all sitting straight up.  There's no way to drill additional holes in them. The hole that existed simply didn't allow the figures to sit correctly ... but I was determined to use them!  They are all so cute!

 
(Above:  Detail of Mandala CCXXX.)

Speaking of cute ... how about the frogs!  Each one is sitting on a piece of crochet that sort of appears like a lily pad.  Drilling holes in plastic frogs is no problem!

Tuesday, April 15, 2025

Spaces Between

(Above:  Me with juror Akiko Kotani at Spaces Between at Florida CraftArt in St. Petersburg, Florida.)

This past weekend was wonderful!  Steve and I returned to Florida for the public reception for Spaces Between at Florida CraftArt in St. Petersburg.  My Cemetery Flags was awarded first place. 

Thankfully, the show was juried blind (meaning, artists' names were not provided with the images during the jurying process) because talented Akiko Kotani might have recognized my last name!  Why?  Well, she's a professor emeritus at Slippery Rock University ... as is my father.  Also, my youngest sister earned a BFA under Akiko!  I didn't know her.  She came to Slippery Rock in 1979, two years after I graduated from high school and went to The Ohio State University.  I never took art in high school or college.  I never moved back home either.  It is, however, a small world!
 

Monday, April 14, 2025

Large Stained Glass LXXXIX

(Above:  Large Stained Glass LXXXIX.  Custom framed:  63" x 23".  Layers of fused polyester stretch velvet on recycled, black industrial felt.  Free-motion machine stitched and exposed to unique melting techniques.  Click on any image to enlarge.)

This is the last piece made before Steve and I start packing for the Smithsonian Craft Show.  It's a big one!  I needed it.  Why?  Well ... loading the cargo van is always tricky. The ProPanel booth must go in first, on the bottom.  Artwork goes on top, layer by layer ... from the larger pieces to smaller ones.  It works best if I have two Large Stained Glass Windows, side-by-side.  This simply provides more space/room for the next layer.  Until last week, this was no problem at all.  I didn't have any Large Stained Glass pieces ... well ... at least ones that I still liked!

 
(Above:  Two Large Stained Glass pieces!)

Last week, a giant truck pulled up and delivered the three pieces that spent two years in Tallin, Estonia through the Art in Embassies program.  I knew one was a Large Stained Glass piece.  So, I started creating another one!  Hopefully, both will find permanent homes next week while at the Smithsonian Craft Show!  Details of the new piece below ... and also "what I did with the Large Stained Glass piece I didn't like"!

(Above and below:  Details of Large Stained Glass LXXXIX.)

I guess I could have taken Large Stained Glass L to Washington, DC but ... well ... my selection of polyester stretch velvets has increased.  I now have brighter colors.  This piece was made way back in 2013.  It never found a home.  There was only one thing to do!  Cut it up and create something new!

 
(Above:  Stained Glass LI.)

I cut and trimmed and started arranging the pieces.  I used the frames from two Lancet Windows that were also returned from Estonia.  The framing material was discontinued sometime last year.  Thus, they didn't match the other Lancet Window that are going to the Smithsonian Craft Show.  We reframed the two Lancet Windows.  I put my new arrangements into the older frames.

(Above:  Fragments II and III.  Framed:  11 1/4" x 31 1/4".)

I think they look great now!





Tuesday, April 08, 2025

Mandala CCXXIX

(Above:  Mandala CCXXIX. Custom framed:  15 3/4" x 15 3/4".  Found objects hand-stitched to a single block of an antique quilt.  Objects include:  An antique pocket watch on a pewter souvenir from Thailand attached to a small, porcelain dish; souvenir spoons; blue and pink "Barbie" telephones; vintage cardboard lids for glass bottles that advertise eggs, orange juice, and milk; four fabric yoyos; copper U-clamps; assorted buttons and beads. Click on any image to enlarge.)

Every day now seems to be one during which I'm deep into creating work for the upcoming Smithsonian Craft Show, but the work I'm making requires free-motion stitching or fusing material with my iron.  These things are not the sort of artwork that I can easily do in the evenings while watching television with Steve.  Handwork is needed.  Therefore, I'm still enjoying my Found Object Mandala series. 

 
(Above:  Detail of Mandala CCXXIX.)

This piece has a unique story or two.  First, the quilt really wasn't a "quilt".  It was just a gorgeous, hand-stitched block.  It was so pretty that I didn't mind quilting it to a piece of batting and an old, damask napkin.  I wondered if there were other blocks or whether this was all that ever got stitched.  It doesn't matter.  It got quilted ... by me!

 
(Above:  Detail of Mandala CCXXIX.)

The more sentimental story, however, is about the centerpiece.  The pocket watch was donated to my stash by a lovely lady I've known for more than two decades.  Our sons went to the same ballet school together.  Her son is now living in Australia.  Recently, she lost her husband of over fifty-years and decided to move to Australia to be near her son and his family. It is wonderful that she will have lots of time with her two grandchildren but also a bit sad that she can't just take everything she now has with her.  Many things, including the pocket watch, found homes in my stash.  I am honored to have such significant items for my mandalas. 

(Above:  Mandala CCXXIX as seen at an angle.) 

The watch didn't work ... so I didn't feel badly drilling four holes in the back of the case.  Otherwise, it is stitched in place ... through holes in the pewter souvenir ... and holes along the rim of the porcelain dish.  There really is a bit of engineering to these mandalas ... and there will be more things from my stash that just didn't get to travel of Australia.