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Inspiring Quilting: Elly's blog to boost your creative IQ

Archive for the ‘Color’ Category

Holland! aka Philadelphia Flower Show ’17 (Part 1)

Tuesday, March 14th, 2017

The best Flower Show ever! Which could be because it featured tulips, windmills, bicycles, wooden shoes, canals, tiles, and art. Could also be because there were NO crowds—snow, sleet, and ice kept them away.

Here’s the entranceway:

Bikes were EVERYWHERE, as they are in the Netherlands. We learned on a recent trip that in Amsterdam, if not all of Holland, there are 1.8 bikes to every human. They are so eco-smart. And the air is  oh-so clean. And the use of bike parts was oh-so clever.

Overdressing!

Saturday, January 28th, 2017

If you’ve read my last two blog posts, you’ll know that I’ve been working on a textile poster, pieced and appliqued out of trash–used packaging. A lot of the assembly came about in flip-and-stitch sections, with quilting to flatten everything down onto felt, then onto a backing.

The problems I saw were a jumble of clutter and a lack of cohesiveness. Many thanks to everyone who left a comment with a suggestion. I considered every single one. And I was determined to move on to address the problem, to redress and resolve those issues, and others brought to my attention, with paint.

 

 

 

Paint day 1–Brushwork, dabbing, sponging, dotting the fuchsia matchsticks—! or i?, adding a soft color to the f in RefUSe:

Better. But still, not half as cohesive as I’d like. On to Paint Day 2, now armed with my favorite paint tool, the Gelli Gel Plate–for mono-printing, and a few high quality tubes of acrylic. Continued to daub, sponge, and brush.

 

 

 

 

 

 

Getting there, now, I think. It’s a lot more impressionistic, which helps to blend the sections for the cohesion I’m after. A lot more yellow, yellow-green, and orange tones, for warmth and sunniness. I’m thinking most of what Joan had to say: “I would use paint so it would have the look of a wall that multiple posters have been ripped from and covered with more posters. I would soften some, completely paint over areas and leave some bright…”

I’ve darkened the S in RefUSe, and the outer edges of the second e–which seems to need a bit more darkening to be readable…Not that ReUS doesn’t have some merit as a message. It’s about “us” doing our part. And hopefully, this message won’t be interpreted as a plea for nationalism over globalism, cuz this citizen really doesn’t cotton to the America First slogan we keep hearing over and over…

OK, focus on your art, Eleanor. We’re not trying to be controversial this time. Honest.

Addressing, Redressing

Wednesday, January 25th, 2017

Composed. Meaning that I’ve put all the elements together for my latest work in progress, and the composition is complete. Brother — or should I say, Bernina, did I have a time quilting those bubbled, melted woven plastic pieces, which was a bag of beet pulp for horse feed (thank you Ms. Vola). See my last post, Bubble, Bubble, Melt & Muddle. Went through a lot of needles, needless to say. Packaging from other used products–coffee bags (thank you Emmetts and local coffee shop), tea bag envelopes (thank you Carl, Barb, Lesley, and Liz),  and foil enclosures for items like smoked salmon and Alka Seltzer tablets, constitute the rest of the surface. Oh, and I threw in some plastic mesh citrus bags.

Yep, this is part of my ReUse series, made from my stash of trash. A green quilt, to be sure. The text riffs on the word Reuse, as in recycle. Ref-use, meaning garbage. And Re: Use, referring to our use of dwindling resources. Maybe even Refuse — to be a user, a conspicuous consumer.

So here I am. Piece needs some work in straightening and finishing the edges.

Considering crossing some of those fuchsia dashes. More is more??

Nuh-uh. What this piece REALLY needs is what my sewing studio needs: some serious decluttering.

See, I’m not showing off. Or fishing for compliments. Quite the contrary, I’m at a hypercritical stage, and fairly desperate for ideas and direction.

Let me interject here that this piece answers a call for entering 32″ x 48″ textile posters from Studio Art Quilters Association (SAQA). So, much as I’d like to severely crop it–which would be in service to the art, that would be a big capitulation of this opportunity for exposure.

Trial by computer: I translate the image to black and white, to view the contrasts and overall composition in a simplified way. I also added a border, to represent a binding all around:

Which tells me that there is just too much variance of contrast–too much piecing, making it jumpy and jarring.

I’ve decided to use paint to reduce the patterning. Excited about using a brayer to capitalize on the bubbled and quilted textures, for an effect resembling crackling. With hopes that the paint doesn’t crack off or flake…Will I need a primer? A sealant? I’m thinking of a whitewashing effect. Not necessarily white, but swathes of a single shaded color to blend areas of random piecing. [Note to self: Next time, keep crazy quilt patchwork to blocks, to contain and restrain the craziness. And make me less crazy.]

I’m no wiz at photo-editing to preview how this might look, but I have an “add flash” feature to show how lightening the whole thing might look, and I’ve added a light green border to stand in for binding:

Better, I think. Paint will also cover up any exposed brand names or logos of companies whose legal departments have nothing better to do than threaten artists and exhibitors.

The good news is, with this shiny, plasticized surface, I can easily sponge off newly-applied paint that doesn’t do it for me.

Friends, when I say I welcome comments, that is an understatement. Very grateful to get your artistic perspective. What do you think I should do?

Swimming Upstream

Sunday, October 23rd, 2016

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I am a bottom feeder who cannot pass up a slab of rusted metal in the street, the cardboard wrapper for some fancy smoked salmon, texture and patina. I have a box of such hard found pieces. I also have an accordion folder and loose piles of fancy papers, tear sheets, beautiful calendar pages…thank you, Sammie Moshenberg! Thank you, Barbara Adler for that glittery packaging from smoked salmon! From the time I was a girl, I collected my father’s lithography samples from when he worked for a printing company.

The obvious thing to my mind is to combine papers and metals into a collage. But I challenged myself to make unrelated materials play together. One way to do that was to use color—salmon and it’s color complement, light blue—as a way to breed the hard with the soft. Some of the papers had been given  a wash of paint, obliterating a clutter of text and integrating them into a cohesive grouping.

I thought the rusted metal held secrets, and history, and I looked to fabrics with not just color coordination but also unfathomable text and visual texture, to continue that narrative of mystery. Thank you, Lonni Rossi! I quilted them to provide a more stable background, and connected by stitch the ephemera, the old and new papers, with the cotton fabrics. Unsure of where I was going, I arranged and rearranged the composition, and when I thought I was close, I still had challenges of mounting the disparate pieces for durability of display, deciding to pull it over stretcher strips, screw spacer strips to support and elevate the metal piece, and camouflaging the screws with spirals of copper wire.

I was definitely swimming upstream, my title for the piece…. like the salmon, expecting only to get screwed by the all difficulties, and die in the end, that is, to have this project end up in the trash.

But on the other hand, I wasn’t floundering. The work had a nice flow to it, and I never felt I was fighting the current. Maybe that’s because my art quilting has not followed a single direction, despite my deep respect for artists who work in a series. I’m not a serious artist, and I can’t take my work or myself all that seriously. But I have to say, finding connections of line, and a balance of shapes is a very satisfying exercise for me. Perhaps, after all, this mixed media piece may not be a one-off; I just may return to the river where hard and soft textures and disparate elements combine. I’m not fishing for compliments, but I sure welcome feedback!

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Painting Play-Date

Thursday, August 4th, 2016

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After winning, at a charity auction, a week at a large, lake-side house in Delaware, I invited a bunch of friends to come and play. On one of those mornings, three women answered the call to make art. I brought fabric, paints, brushes, a couple of brayers,  a Gelli art printing plate, and a mess of empty plastic containers, jars, and lids. I demo’ed what I’d learned about monoprinting:

Dab bits or globs of of acrylic paint on the Gelli plate, and roll it out with a brayer. Brush on dots or drag lines with the tip of the brush handle as the spirit moves you. Then, flip the plate onto fabric (I started with an orange print), and roll over it with a second, clean brayer.

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Lift it up, and see what you’ve got. Add more monoprints alongside or on top. Add dots and dashes and lines of paint.

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Below, check out part of another piece I belabored. I really wasn’t thrilled with anything I made. No matter! For me, this is just a start…I’ll cut up painted pieces for sections of an art quilt, or make art quilt postcards, adding other scraps, plus lots of decorative stitches.

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What really gets me jazzed is how my buddies, all monoprinting novices, absolutely, positively surpassed me in creating much more successful art pieces. And came up with techniques of their own that I never would have discovered.

Claire dared to use the same swirly-print fabric, but with a fun, folk-arty flair:

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This intuitive Alaskan also used the Gelli plate to pick up excess paint from her fabric, then turned the plate 90 degrees and rolled over the brayer to deposit perpendicular patterns. Claire shows off one side, then the other. Which do you like best?

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Meanwhile, Barbara of Bucks County, PA channeled Monet. I loved how she used clear plastic containers to alternate with the Gelli plate for monoprinting.

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Finally, Dr. Marjorie of Narberth, PA mainlined a thoroughly modern, expressionist vibe, a la Miro, or Braque:

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Again, we found that the paint that leaked onto the back of the fabric had a simpler, more compelling design. Serendipity goes a long way!

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Another Marjorie experiment with a fabric that already has a strong print.

 

 

 

 

 

Monoprinting can be fairly monotoned, but is never monotonous. Printing over and over with the underside of a clear plastic container leads to a powerful abstract statement.

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Many thanks to Miss Peggy, for taking over the photographing, given that our hands were full of paint!

Working with paints and various tools makes for lots of trading brushes and plastic lid paint palettes…and lots of mess. All the better to find a buddy or two or three to share the setting up, cleaning up, and fun. Can’t wait for the next play-date!

 

 

LOUD Conversation prints!–Love ’em!

Wednesday, June 1st, 2016

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Contemporary wax printed textiles stretched onto frames—I’m guessing 24″ x 36″— like art: as stunning as the fashions in the Creative Africa exhibit currently at the Philadelphia Museum of Art’s Perlman annex. Did you catch my blog post about that? you can look at it here.

The comments are really interesting, as comments always are! The print below, though it seems to belittle conversation and communication, nonetheless speaks to the way all us quilters silently express ourselves through cloth:

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Although most people think of them as African, the fabrics are designed by Dutch designers and made in the Netherlands by Vlisco. Still, they are inspired by African motifs and symbols, and made into clothing and worn mostly by Africans. Here’s a photo from the collection of African architect Francis Kéré, also shown in the PMA exhibit:

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Clearly, the fabric you wear is an important way of expressing who you are. And your position in society. Here, the reference is to bolts of fabric included in an African woman’s dowry.

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I naturally gravitated toward other motifs related to cutting and stitching:

 

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Symbols of upwardly mobile wealth, especially for women in the market and on the go, also take the forms of fancy shoes, wheels, and cars.

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On the grill of a luxury car, the Vlisco logo takes over for Mercedes Benz.

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Think those cracks in the side mirrors of a Mercedes refer to our warped perceptions of where we’ve come from, i.e., our humble beginnings? Or literally to the batik process of breaking up the wax painted on the fabric so dyes can seep into the cracks?

Another traffic-related print poses the question, are you heading towards love or money?

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Perhaps the most “out-there” fabric from 1953 features a traditional patchwork design around a sort of fertility mandala, shall I say? It’s named after an African proverb that translates to “children are better than money.”

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Stay tuned. My next post will show some distinctly African-made fabrics. In the meantime, how do YOU use conversation prints in your work?

Sew Resplendent!

Monday, May 30th, 2016

Visiting with the Columbine Quilters in Colorado, I got to admire the many talents of one member in particular, Pam Ballard. Pam brought her spectacularly unique sewing machine to my workshop, and I’m so glad she did…

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This sewing maven graciously allows me to share her method to machine embellishment:

  1. Tape over all openings to prevent paint from seeping into the machine workings.
  2. Dilute nail polish (in this case, a chartreuse color) with acetone (nail polish remover) in order to lighten it. Apply with a sponge in up and down movements.
  3. Use Sharpie Poster Paint Markers (not permanent ink) to doodle and draw.
  4. Pam just reminded me:  take your machine outside and spray with clear acrylic sealant to seal the poster paint markings. BTW, this is the reason for the poster paint markers—the permanent ink Sharpies would bleed, she found.
  5. E6000 glue is her recommendation for adhering tiny jewels and other bling.

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Nail polish in different colors applied to various presser feet makes the one Pam wants to use stand out in the drawer.

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Pam will lend other workshop participants her tools, knowing that as they are clearly identified with her colors and glam touches, she’ll get them back. Also when traveling, Pam stores the spools and coordinating bobbins in translucent pill bottles…a clever organization system if ever I saw one.

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No doubt by now you’ve noticed that Pam is partial to a certain color palette. She made the Wonky Nine-Patch blocks in my workshop, and plans to combine them with her hexies in a complex master-work of an art quilt.

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Little gators are her mascots and muses!

 

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Is this not smashing?! Would you ever consider pimping…er, primping your machine?

Out of Africa? Wearable Art

Saturday, May 28th, 2016

Stunning fashion at the Philadelphia Museum of Art stirs up passions…and questions. Those who know global fabrics have long recognized that the colorful fabrics long associated with Africa come from Europe, particularly the Netherlands. Which begs for an understanding of colonialism and economic exploitation. In any case, Africans as well as Europeans have embraced the fabrics, combining them in ways wild but wearable, even for large ladies.

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From its website (http://www.philamuseum.org/exhibitions/845.html):
Vlisco: African Fashion on a Global Stage, April 30, 2016 – January 22, 2017

Explore how the Dutch company Vlisco became one of the most influential textile brands in West and Central African fashion and a design inspiration around the world. Known for its bold and colorful patterns, Vlisco creates fabrics that marry tradition with luxury. This exhibition highlights the company’s classic and new designs, follows the creation of a textile, and showcases a selection of contemporary fashions by African and European makers as well as Vlisco’s in-house design team.
The wax printed textiles associated with Central and West Africa have a surprising history. Although consumers in Africa and the diaspora embrace them as African, the fabrics have long been designed and manufactured in Europe, and now in China and India. The most luxurious are the wax prints designed and made in the Netherlands by Vlisco. Shortly after its founding in 1846, the company began exporting imitation batiks to the Dutch East Indies (Indonesia). Three decades later, Vlisco found a new market in West Africa. This exhibition is offered in conjunction with Creative Africa, a season devoted to African art and design.”
Have a look!

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Sumptuous, right? Would you wear any of these wow’ems?

 

Woven Water

Wednesday, July 1st, 2015

Getting right down to it. Here’s today’s progress:

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Warp laid out

 

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Plain weave—over one, under one, with the lighter values of fabric and ribbons

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Medium tones woven in a basketweave or twill pattern, passing over 2 strips and staggering the next

 

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Getting ready to weave the darker section.

What? Not looking like water? Will wash away intensity with sheer fabrics, and balance the angles with curvy quilting lines…That’s the plan, anyway. Not that I ever stick to a plan!

Art = Play

Tuesday, June 24th, 2014

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      The Contemporary Arts Center –a highlight of a long weekend in Cincinnati, was as fun for my almost 4-year old great nephew as it was for his mom, my DH, and me.  An ultra-colorful and creative current exhibit is titled, “Shall I tell you the secret of the whole world? Painting, Parody & Disguise.” Defining the Parody part, curator Michael Stillion mentions, “Taking serious art not so serious and making it hilariously serious.” With that insanely in mind, Zachary Herrmann describes his installation, with its special appeal for us young and old viewers, using other opposing concepts, so that “cultural cues, symbols, and sensual stimulation…project into a more loosely structured space where fictions about beauty and repulsion, violence and humor, mortality, transparency, and psychology are at play.”

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detail,fools-houseMark Fox, A Fool’s House Fulfilled–A broomstick — among lots of debris–is a clue as to the scale. P1012102

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Upstairs at CAC is the UnMuseum. There, Casey Millard’s character, Shark Girl, is not having a good day. She hides behind a shark head, because that is the animal she feels like. What animal do you feel like? I am a clingy Labrador retriever, Marcie is a kangaroo mother, and Norman is a curious little monkey.

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Ryan Mulligan created the most beautiful, free-play putt-putt course–no clubs; you use your feet to guide balls into holes…or send them down the clever chutes…or maybe you simply roll around in the balls like a little Ikea ballroom. It’s called The Dinosaur Says Moo.

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I think I’m ready to be more playful with my quilting…how about you?