A Day Late...

This week I missed posting to WIP Wednesday over at NTN because...well, I had WIPs on Wednesday but no time to post.

Did I mention I'm working at The Shop two days a week right now?  Have been since after Thanksgiving.  It's Prime Yarn-craft Weather and customers have been flocking to the store for yarn with which to knit and crochet gifts for Christmas and whatever other holidays they celebrate -- on top of newly-arrived babies and grand-babies, etc.

In quiet moments there I've been able to work on my own knitting...but there haven't been that many quiet moments!

The days are long -- I leave here around 8 a.m. (yes, it's still rather dark then) and don't get home till close to 7 p.m. (yes, it's dark again then)...which makes for a fulfilling but lo-o-ong day.  By the time I've sorted myself out and read/responded to correspondence and fed the cat (and sometimes, me)...it's time for bed!

To keep Wednesdays and Fridays from feeling like 'catch-up' days, I'm trying to spend more (structured) time in the studio.  By Wednesday evening this week, here's what was going on:

• First, a reprise of "Gone South" from this time last year.  Here it is with my "test mat".  I was checking to see if I'd stitched in enough wee branches.  I test my pieces several times while under construction; using the mat helps me see what needs to be added -- or not.  Another example of what was added in this case was some stitching across the bottom to give the impression of snow banks, even though in this piece the background is a very pale grey.

Having decided the branches looked right, I began to add tiny beads to represent the small "apples" that grow on this particular tree (it's in my back yard).  (Yes they are the same beads that are featured in "Winter Dinette".)

The shadow is caused by the position of the piece on my worktable (a keyboard shelf at my desk; I was watching a PBS program on computer while adding the beads).  :-)

Today I will finish adding the beads, trim the piece, put some stay-stitching around the edges and apply the mat.

• Then I hope to start the stitching on this piece -- another WIP from Wednesday:

"Tipsy - Autumn" - WIP

The piece is based on a photo from another corner of my favourite field:

Until earlier this week, there were hay bales all over that field.  (Don't be confused; the bale is not larger than the building!  That's just the angle at which I took that photo, which I was taking not so much for the building but for the colours of the trees and grasses.)

That said, the presence of the bales has given me an idea for some of the stitching on the 'field' in the foreground of the piece.  :-)

Being reminded of the quilting design was a lesson I re-learned Monday and again Wednesday as I watched my former tutor, Linda Kemshall, on an episode of DMTV entitled "Art as Inspiration".  I watched it three times, I think, as I prepared for my next 15 x 15 piece on the theme, "Roads".  As usual, I have several ideas buzzing around in my head.  The DMTV episode helped me by reminding me of the steps I learned in my C&G -- inspirational photos/research; sketchbook notes and perhaps a drawing or two to get the colours and impressions in mind...etc.

Adhering to that lightly structured process is very freeing, really, because it slows me down, requires me to really look at my sources of inspiration, focus on the colours, lines and forms that appeal to me, which I can then extract for my quilt design.  It has a calming effect, serving to "unscramble" the ideas and thoughts crowding my brain.

The sorting-out thus far is both in my sketchbook and on my wall...

Mapping "Roads"

And the process continues... 

I'm now linking to Nina Marie's Off the Wall Friday.  The plan: stitch those beads to "Gone South II" while I sip a fresh cuppa coffee and read what others are up to.

Looks like EB is using a section of her Abstract Art for Quilt-makers class with the current Master Class Students.  Why don't you visit too...and see what's going on?  Happy Friday, everyone!

Ninety Minutes

in the presence of Barbara J. West, Ilse Anysas-Salkauskas and their work...and I very nearly succumbed (yet again) to The Mean Greenies, about which I recently wrote on the SAQA Yahoo conversation site, thus:

Having read of  recent successes...I decided a blanket -- but heart-felt -- CONGRATULATIONS! needed to be posted.  :-)

Not having time to respond to each one individually, I wanted to express how, nonetheless, I get a little thrill when I read about these events in the lives of my colleagues.

It wasn't always so...and I confess I still have to beat down the Mean Greenies (envy) from time to time! LOL! However, beat them down I do, as I have learned what it takes to enter competitions and calls for entry, and have these thoughts about it.

1.  Not taking rejection personally is difficult. Do it anyway. It's generally not about *you*.
2.  Celebrate with others always. One day they will celebrate with you.
3.  Decide how you want to 'get your work Out There' decision, whether it be entering lots of shows, posting on your blog or website, having an online shop, teaching, going international with your entries or sticking closer to home, submitting to galleries, submitting to quilt shows, being part of a challenge group on line or in your area -- and BE HAPPY with your decision. Don't let the way someone else chooses to 'get his/her work out there' determine what's right for you at any given time. (NOTE: This is the Biggie for me.)
4. Reserve the right to change your mind -- and the way you put your work 'out there'. :-)
5. Learn from the experiences of others, but remember your Art Journey is YOUR Art Journey and can be travelled by no one but you.
6. Enjoy the ride!

See #3 up there?  See it?

I very nearly waffled on that one yesterday afternoon, yessiree.  

"Hanging by a Thread" is powerful, provocative, occasionally poetic.  Barbara's installations are beautifully constructed, mainly hand-knit fabric combined with unusual materials, and they have an edge to them -- a mixture of tongue-in-cheek with "Whoa!", once you figure out what she's saying.  Ilse's wall pieces are equally beautifully made, with deliberate decisions re: colour and design, combined with exquisite quilting; it is in her artist's statements that you find the sub-text behind each piece.  There was a trio expressing the inter-relationships between generations of women in a family that very nearly reduced me to tears.

I had only brief opportunities to speak with Barbara and Ilse, both together and separately, as the gallery began to fill with family, friends, and other viewers for the opening reception.  They told me this work was the result of a three-year collaboration that very nearly didn't come together because, for a variety of reasons, Life got in the way, as it is wont to do.  They talked of getting a grant, doing research and conducting focus groups on their theme, which began as a study of the passing on of learning and tradition between generations.

Grants? Research?  Focus groups?

When I got home I dashed off e-mails about this process to three artists I admire and respect: Lesley Turner, Vickie Newington and my former C&G tutor, Linda Kemshall.  Lesley has a BA (Hons Textiles) from a university in the UK, as well as C&G certificate(s), and Vickie is also a C&G graduate.  I wanted to hear what each had to say about research, based on their experience and education.

Most likely due to the time difference (it's much later in the UK than it is here), Linda's response is already in my in-box.  She said -- and I quote:

"C&G are very hot on research especially when it comes to the higher levels of study. At the highest, Level 3 diploma level there is a complete unit devoted to a research project of the student's personal choice. Research is defined as a systematic study of a subject in order to learn all about it. The findings of the in depth study are recorded in some way that is useful to the user of the discovered information. Of course research can be extremely wordy but where the research is meant to inform choices in a creative pursuit it is probably necessary to make the research as visual as possible. Depending on the choice of subject I guess this is sometimes easier than others."

She added:

"The difficulty with research is the unknown! there is not much point in undertaking research to prove a theory or back up an idea you already have. You should just take a subject that fascinates you and be prepared to spend a lot of time understanding everything about it. There is no magic formula - just thorough investigation. There is also no need for much in the way of expense - your internet connection can provide lots of the information you need and trips to the library, museums or other places of interest will provide the rest depending on your choice of subject."  (emphasis mine)

And then she reminded me:

"You write as though you have never researched a subject but in fact you did that when you made the museum quilt for the course. Think of research as simply a quest for information and you'll realise it's not anything extraordinary. My own work always relies on research - I never work intuitively - it's always based on knowledge gained from prior research although that research may have been undertaken a long while ago." (emphasis mine)

Well, duh.  

And then I read the latest Guest Post over at Abbey of the Arts and was again reminded that as a "Monk in the World" and an artist, I am to follow my own path.  As Gretchen Ruben would say, I am to "BE Margaret".  

And wasn't that what I'd so recently said in my SAQA Yahoo post?

Research?  I've done that! 

Explore a topic deeply?  I've done that!

Have a subject (or two) that fascinates me such that I'm prepared to spend a lot of time understanding it?  I have that!

And grants and focus groups are wonderful things, but using those resources won't make me a better artist.  Only practice will do that.

Finally, my current Art Journey is not calling me to make thought-provoking installations, or to move someone to tears in the way the work of Barbara and Ilse can do.

Lessons learned?

Continue the Artist's Dates.  Visit exhibits that with provoke, prod, pull me outside my comfort zone.  Encourage others to do so too.  Continue to take notes, to learn, to seek advice, to study -- in directions appropriate to my Art Journey -- and get into the studio and make art!

Oh... You want to see photos of the exhibit?  I was permitted to take some, but they are for my own use, inspiration and learning.  I'm not going to share them here.  You'll just have to visit "Hanging by a Thread" for yourself.  It's up through September 28.  That's in the Feature Gallery, Alberta Craft Council, 10186 - 106 Street, Edmonton, Alberta -- Mondays through Saturdays, 10 a.m. - 5 p.m. (6 p.m. on Thursdays).

Quilting Snow

This piece seems to be coming together, and it's growing on me -- so much so that I headed to the sewdio 1/2 hour earlier than usual.  I got into the groove by assembling my fourth "B" block from Easy Street, and then I changed to my walking foot to quilt "Sentinels".

I began with some 'ditching' in the long lines between the strips of 'snow', and then added some gentle curves to denote landscape.  (Original photo inspiration HERE.)

NOTE: the 'blue' fabric is really more grey than blue!

Switching to my free-motion foot but leaving the feed dogs up, I moved to the top of the piece and worked on the sky:

NOTE: The fabric colours are more accurate in this photo!

'Twas my C&G tutor, Linda, who encouraged me to quilt my skies and I have to admit, I rather like it!

In the photo above you'll see I've also stitched on the white strip of snow at the top of the scene; I used my FM foot and feed dogs up; the 'fabric' is really a scrap of white batting I've had for ????  how long?

So here's the piece in its present state, with some rock outcroppings pinned on, awaiting applique.  This will be followed by fence posts, power poles, power lines, bush and grasses, but this is enough for today.  I have some reading to catch up on.  :-)

And I'm linking this to "Off the Wall Friday" over at Nina-Marie's blog.

Surrounded by batting, prepped for more applique

May I Recommend...

The Painted Quilt, by Linda Kemshall and her daughter, Laura.  In addition to the book, Linda and Laura have created a wonderful DVD/CD set, which they are currently selling for just under 10 GBP.  I couldn't resist the special price, and ordered it a few weeks ago.  Then...I let it sit by my computer...till last evening.  I have no idea why I was procrastinating -- and I'm delighted I finally roused myself out of my frozen January state, and watched the DVD.

Linda and Laura explain in detail three of their favourite techniques for painting on quilted fabric, show the viewer exactly how each is done, and then show him/her three projects -- from start to finish -- using one or all of the techniques.

The CD contains tips, worksheets and printable patterns for the projects.  Yummy!

While I watched, I worked on hand quilting my own 'painted' piece from my City & Guilds Module 5, Activity 10 (remember, Linda is not only my inspiration -- she's my tutor!)  This is the first of two pieces I stamped with a handmade stamp and acrylic paint, mixed with a drop or two of textile medium; after it dried and before stitching, I set the design with a dry hot iron.  Now my task is to quilt it up and see what sort of effect I get.  Stay tuned for the finished results in a later post.

From the C&G

'Star Dust'

My City & Guilds tutor, Linda Kemshall, and her colleagues will be closing the online 'schoolhouse' on Friday for the Christmas and New Year holiday.  I decided I'd best finish Activity 4 of Module 5, so I could make a fresh start on the next activity in the New Year.

Two methods of tied quilting were required for the assignment.  Because I had only one sample, I decided to combine them in the one piece.  Can you pick out the two different approaches?  Here's a detail shot to give you a better idea:

The other thing I've done with this sample is finish the edge on one side, just to see if it would work well.  I trimmed the batting right back from the edge, and the backing to 1/4" (or so -- I did it free-hand).  Then I folded and finger-pressed that bit of seam allowance and whip-stitched it to the already-folded edges of the outer hexagons, using the same fine silk thread I used to attach the hexies to each other.  I rather like the results, and when I have a few moments here and there, I'll go around the other 3 sides with this technique.  With the zig-zag edging, I'm thinking it might be interesting to mount the finished piece on stretched canvas -- or on a solid-coloured quilted background (a quilt on a quilt).  What do you think?

In the C&G

I've been playing with inserts...

narrow folded fabric

Frayed linen flaps, staggered sizes

Frayed cotton fabric, alternating directions

And generally having fun!

Odd Man Out*

*All from Module 4, Activity 2, Level 2 Certificate program in Creative Techniques: Quilting - online with Linda Kemshall of Design Matters.  

How'd you like...

to attend a fibre/fabric/floss festival in a venue like this?!  At left is one of the photos the Kemshalls shared on their Facebook Page upon return from the Knitting and Stitching Show at the Alexandra Palace in London, UK.  IMHO, our North American venues can't hold a candle to the Brits' for elegance, grandeur and refinement -- in a large space.  I'll bet the show hall in Houston (TX) doesn't have a rose window!