Eleanor Levie HomeAboutEditorial ServicesBooksGallerySpeaker TopicsWorkshopsPast BookingsFree StuffLInks Contact Me

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

Frames of Mind and Matter

August 31st, 2016

Having fun working small. As in, postcard size. And yeah, I’ve backed one with paper, wrote a message, and posted it to our son in Denmark. Postage was $1.33, by the way. Course, it’s been two weeks, and he still hasn’t gotten it…or at least, true to form, hasn’t communicated that he has, nor has he been directly in touch at all (hint hint).

Other postcard-size quilted minis, I’ve set into a shadowbox frame. Amazing how a little postcard is suddenly transformed into a small work of art! How-to’s are easy to understand and cheap—just like me! See them on my website’s Free & Fun link, here.

The two that follow are part of a gallery show, Summer Orbits, in a studio above the Da Vinci Art Alliance in Philly: Galactic Donuts, and Life, Mapped Out.





A black and metallic fabric swatch with gingko and character felt Japanese, so I named this piece Asian Pear. It resides alongside many other pears, the subject matter of art I’ve collected by various painters and photographers.  It’s the pear as body shape, natch. Just like me!




5 Responses to “Frames of Mind and Matter”

  1. Sally K. Field says:

    Really like what you’ve done with small quilts. I have a few that would probably be enhanced by framing. Something to think about–probably in the depths of winter! Sally

  2. Thanks,
    Yours look GREAT! Maybe next winter I’ll try mounting some of mine?

  3. If you’ve got a few frames on hand, and some unsuccessful quilt projects you’re willing to cut up, you’ll always have some wonderful gifts at the ready…for about the same amount of time you’d spend shopping, and a whole lot more fun!

  4. Lucinda says:

    IKEA has a 20″ x 20″ frame in black or white that has a built in shadow box of about 1 1/4″. With glass and a Matt and wire for hanging for less than $15. It is simple and very clean lined, so it does not take away from the art. To mount artwork get a stylis from an art supply store, it is a 2 1/2″ needle set in wood in the ceramic tools section. For $2 or less sew your fiber work about every 4″ with a matching thread. Center your artwork on a mattboard. Put a can of tomatoes on it, or two to keep it from moving, poke a small hole through both artwork and Matt from the top, draw threaded needle up from underneath, move Matt to edge of the table and hang side you are working on off table, then put second stitch 1/8″ away from first, bring thread down and knot and you are ready to move to next stitch. Don’t cut thread, just go on back of Matt approximately 4″.

    If the artwork is 10″ I would put a stitch in each corner and then if it was flat, I would put one in the middle. If it is wavy I would put two stitches in at approx. 3 1/4″ and 6 3/4″. You can usually stretch uneven quilts and make them squarer with the tip of the needle. This method makes the art remove able without damage, unlike glue. The back of your fingernail on the holes will make them disappear. Taught to me by a textile department restorer from the metropolitan museum, NYC.

Leave a Reply

Cut-Ups for Quilt-Art

August 22nd, 2016

Here’s one piece of fabric from the painting play-date I described last month:



I hated the result. But that doesn’t mean certain areas didn’t have potential. I cut up sections I liked, and fused them to Peltex–thick interfacing. The kind I had featured fusible on both sides, but I only adhered to one side, protecting my ironing surface from the other side with a Teflon pressing sheet.

Then, I mined for gold: went through my scrap stash of mostly silks and silky fabrics for collage candidates in warm colors and light, medium, and dark accents. When I found a piece that played well with my painted background, I pressed fusible web to the back, and without measuring, I scissors-cut strips and rectangles. Auditioned some arrangements. Fused the scraps in place. Quilted to make the compositions more cohesive. Couched cord or chenille yarn around the edges for a finish.


               Center of Gravity, 13″x 7″


Galactic Donuts, 6″x 4″

Those painted backgrounds are pretty well covered up, I confess. Can you find the areas of the painted fabric at the top that I used for each piece?

Leave a Reply

Painting Play-Date

August 4th, 2016


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.



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






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.


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:


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?




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

DSCN7785  DSCN7817DSCN7789





















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




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!


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.






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!



6 Responses to “Painting Play-Date”

  1. Looks like you had fun, with lovely results! Now I want to paint something!

  2. Diane says:

    That swirly print base fabric is to dye for. I would love some of that, do you still have the selvedge, can you read the manufacturer, the model name, anything????

    I buy white-on-white fabric when I find it and it makes the most miraculous deconstructed screen prints.

    Thanks for sharing the fun.


    • Probably got it at Jo-Ann’s, in a remnant bin…or on a bolt. It’s indoor-outdoor fabric, like (if not) Sunbrella or Solarium. Doubt it’s still around, and really, it doesn’t absorb dye or paint as cotton would.

Leave a Reply

What’s new is Oldham, Todd Oldham

June 14th, 2016


All of Everything refers to the many materials, styles and themes that Todd Oldham used to put into his fashion. It is the name of the show, the first major exhibition to focus on the exuberant style and playful aesthetic of Todd Oldham’s runway opus of the 1990s. I just saw it at the Rhode Island School of Design (RISD) Museum; it’s there until Sept. 11.

Some glimpses that us quilters will love…that is, IF you’re into All of Everything, and everything but the kitchen sink in your fashion!


Different types of fabrics and patterns in the coats above and below, and in the mock-up with glued wool that was photographed and used for a print.




Patchwork with Woven Ribbons








Button Embellishment







Beading, Quilting


Knitting, Lacing, Surface Design, & Beading




This last pièce de irresistance was the culmination of a class Oldham taught at RISD in 2014. Except for this collaboration, it has been 14 or 15 years since he’s designed fashion. In the years since, he’s been putting All of Everything into interior design, kid-crafts, and other follies for Target, Old Navy, La-Z-Boy, Escada, movies, and TV. Check out his home here!


One Response to “What’s new is Oldham, Todd Oldham”

  1. Thank you so much for sharing this fascinating and fun exhibit with us!!! Wonderful eye-candy!

Leave a Reply

LOUD Conversation prints!–Love ’em!

June 1st, 2016


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:


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:


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.


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




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.



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



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?


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.”


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

Leave a Reply

Sew Resplendent!

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…



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.






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


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.


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.



Little gators are her mascots and muses!




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

Leave a Reply

Out of Africa? Wearable Art

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.


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!


























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


12 Responses to “Out of Africa? Wearable Art”

  1. Thanks for sharing this! At my son’s college graduation yesterday, there were quite a few parents in African regalia – absolutely incredible dresses, colors, headdresses. This is very interesting information. People had brought me fabric they bought in Africa that was marked “made in Holland.” Fascinating!

  2. Barb L. says:

    My uncle Joe was ordained a Catholic priest and promptly moved to Tanzania on the eastern coast of Africa in 1964. He went to live with the Massai people, they lived several hundred miles inland.. He has lived and worked there his entire life. For a long time the villages he lived and worked in were in the bush, accessible only by jeep and hiking.. Of the many souvenirs he brought home on visits, there was always cloth. His sisters would make skirts and my mom kept hers as she always planned to make a quilt with them. I was very grateful to inherit these fabrics. They couldn’t be more different than the ones in the exhibit. There were a few photographs that showed the Massai women in the same fabrics. I don’t believe they could have been made in Europe as for a very long time the Massai people were completely self sufficient. I will have to take a look at the selvage to be sure.

  3. Thank you for your wonderful photos – these are gorgeous patterns and clothing! We have to remember that Africa is a huge continent with many countries and cultures. The ones in this exhibit are designed by the Dutch mfg. There is a lot more to African clothing than this type of print.
    I loved the orange, turquoise and periwinkle dress! Where I live, LLBean is the style, so I don’t see myself wearing any of the clothing. The bright colors tend to look best on African American skin. The patterns remind me how drawn I am to very graphic designs and they might inspire something in my own art quilts. Thanks for sharing Elly. It looks like it would be worth the 5 hour drive to go see it!

  4. These are absolutely FASCINATING! What country in Africa are these from? Aparently one connected with the Netherlands?
    We Quakers have an orphanage in Kenya. I have not seen any photos of clothing with these wild prints. I have seen stunning clothing on some of the women. Of course the childen wear either school uniforms or what we send them.
    Because I am fair skinned, those wild colors would overwhelm me. However, I think I could spend a few hours looking at this exhibit. I LOVE the details such as that wrist ‘ruffle’, the cut outs around the neck and back, the fabric covered HIGH platform shoes [could break a leg falling off those], the slim pants [extra large for me would have a totally different look], the arrangement of designs motifs, etc.
    Thanks so much for treating us to this wonderful exhibit!

    • Eleanor says:

      You are absolutely right on so many points! I have pasty white skin, but frizzy curly hair–a Jew-fro, but feel a bit guilty when I appropriate African styles…much more than Japanese, Chinese, or other cultures’ garb.

  5. Judy Anderson says:

    FABULOUS! Thank you forsharing these photos.

  6. Heidi Lund says:

    Absolutely stunning wearable garments! The color, the fabric, the designs, wow. It must have been wonderful to see them in person. They are each equally unique and the African prints lend themselves not not only be eye catching but dramatic. I love the one with the red leaves framing the back, and shoulder.

  7. I used Vlisco in my first major quilt, a Mariner’s Compass queen sized, as we lived in central Africa at the time. I have two outfits (which alas do not at this time FIT) in these glorious fabrics, and more fabric in my stash. I’ve put this on my calendar–we deliver our son to college for Freshman year and YIPPEE the exhibit will still be on in August, so I have already pled with hubby to take an extra day and take the train from Lancaster to Phila. just to see this! Thanks for the preview, Sarah

Leave a Reply

I really don’t do “pretty”

May 3rd, 2016

As usual, it was a class–long ago–that started me on a new art quilt. In Lesson 2 of About Style, Pamela Allen assigned us online students to “cut various long skinny shapes out of different fabrics and ‘grow’ your plant in the same way Nature does.”

Rather than “grow” a tree from my imagination, as Pamela does, I relied on photos I took on a trip to Lisbon, when the jacarandas were blooming gorgeous.



Started with a background on a quilt sandwich, anticipating a small art quilt:


Next, I brought in the trunk for a pretzel-like tree, with a bunch of lavender prints:


“Grew” the tree with other, similarly colored fabrics in various shades and tints:


Oh, this could be a really pretty picture, a la my photo. I could balance the lower left side with flowering shrubbery.

But then I remembered: I don’t really do “pretty.”

#1, there are so many fabulous art quilters who take “pretty” to levels I could never dream of.

#2, “pretty” can be pretty boring.

Around this time, my sister Carolyn was shopping for a new car. As a wife, she had always deferred to her husband’s choices in this department. As a widow with a new-found sense of her capabilities for research and decision-making, and within short order, she she walked into her local Honda dealership, test-drove, and bought a Honda Accord.

So, in accordance with those trees that grew in a high-trafficked, urban setting, and with tremendous pride in my sister’s taste and independence, I slapped a Honda under the jacaranda. And made my getaway from “pretty.”


Stay tuned to see how this art quilt is going, and growing. As always, comments are much appreciated.


8 Responses to “I really don’t do “pretty””

  1. Carl Harrington says:

    This quilt is growing into something very wonderful. I bet you all wish you could just walk in and watch the progress on a day-today or hour-by-hour basis like I get to do as Elly’s husband. Staying tuned will be very worthwhile.


  2. Mary Ann says:

    Glad to see you finishing this. My pieces from that class are still in a box unfortunately. Look forward to more.

  3. Annie says:

    Love the idea that you don’t “do pretty”! I feel the same, somewhat daringly rebellious! I’m wondering if a good green in the background, instead of the light beige might be fun? Don’t know if your stuff is already fused or sewn down yet, or not. Just a thought.

  4. Suzanne says:

    Sorry to disagree, Eleanor, but I think it’s still pretty. Now if instead of a Honda, you had a bleeding skull, you might be beyond pretty. It’s going to be hard to make that tree you’ve grown anything but lovely. I like lovely; admittedly, beauty is in the eye of the beholder. Thank you for sharing this.

  5. Linda Cline says:

    I will agree with Suzanne. I don’t care for “pretty for the pretty’s sake”, but I love where you are going with this beautiful quilt. You’re tree has a lot of character. The car and the urban setting add to the personality of the quilt.

  6. kathy york says:

    Your car made the tree pop!

Leave a Reply

Diaspora in 3-D

April 24th, 2016

It took a phenomenal exhibit to move me back to blogging mode–after months of merely Facebooking (sigh).


Out of Africa: Primal Diaspora, by Buff McAllister; Crossings II, by Sandy Gregg; and Generation 2500, by Barbara Schneider


Stories of Migration is a joint venture by SAQA–Studio Art Quilters Assoc. and the Textile Museum, now housed at GW University in DC.  It takes the concept of diaspora, and moves it far beyond the traditional dispersal of Jews following the destruction of the Temple. From the Greek–a scattering or sowing of seeds, it now covers any body of people living outside their homeland. Psychological and evocative reactions and political ramifications are powerful. But because movement and geography, or space, are inherent to this theme, I am moved to share with you just a few pieces that go beyond the art quilt on the wall and take less usual positions.

Above, that big ball is a rolled up strip, 300 yards long, with overlapping hand-prints to depict the people and the journey of homo sapiens over 2500 generations.

Below are three shots of an installation piece by Sara P. Rockinger. She is interested in how “global social issues intersect, overlap, and become stitched together through shared human experience.” Handmade clothing from different cultures are molded and stiffened. Video projections allow the viewer (i.e., me) to become part of the experience, called In/Visible.




































Jane Dunnewold is a favorite artist of mine, working in fabric, paper, and lots of surface treatments. Taking a vintage quilt and handmade and vintage papers, she has used collage and weaving, added spackle and gold leaf to rework the idea of a soft covering for a bed into a symbol of transition and paradox. The title, “Receptacles of Memory,” can be applied to a great number of the pieces in this exhibit.














































I’ve also followed the evolution of Susan Else from quilter of bed quilts to art quilts to fabric sculpture. Above and below is her “Crossing Points.” She explains that decades of injury and counter-injury and outside interests catch people up in a web where they have nothing to lose by leaving.

This piece sits beneath a site-specific installation by Consuelo Jimenez Underwood, called “Undocumented Border Flowers.” Underwood was invited to submit work, as were other celebrated artists (Faith Ringgold is another one). The rest of the artists were juried in.





















More human-scaled, and perhaps more accessible, is this wonderful evocation of what it is to be an urban nomad. Kristin La Flamme has made a shopping cart over into a village, using fabrics from army uniforms, yarn, floss, and bungie cords. It’s called, “Home is Where the Army Sends Us.”


Hoping this blog post sends YOU to see this exhibit before it closes Sept. 4. And, if you’re still reading, I have a copy of the exhibit catalog to send to someone. Share your personal migration story in the comment box below. Not much room, I know, so try to use fewer than 50 words.  I’ll pick one that particularly inspires me and mail you out this full-color collection showing all the pieces in the exhibit.

9 Responses to “Diaspora in 3-D”

  1. My husband and I grew up in the same hometown in upstate NewYork. We met on a blind date after we had both headed in different directions for college. We married young and had four children by the time we were 26 and 27. We moved to Maine for him to complete college, then active duty military, then move after move for various reasons. We have lived 18 places in our 51 years of marriage. I still think of the house where I grew up as home, although my parents have passed on and the home is no longer ours. I never feel like I truly belong anywhere.

  2. Wow, Eleanor, thank you so much for this fantastic blog post. I feel like I was there. What amazing pieces. Thank you for sharing the experience!

  3. Carol mcdowell says:

    Very interesting! I love seeing what artists come up. From one prompt comes so many totally different pieces. Thank you for posting this 🙂

  4. Susan says:

    I migrated from England to the us in the days when women’s opportunities were still limited in the UK but the US had brought in affirmative action.

    • Eleanor says:

      You must have been very brave, Susan. I find it absolutely fascinating that you have created or found a community of the world in Fifteen Quilts. Love the architecture of your Walt Disney Hall—a sense of place, if not home!

  5. kathy york says:

    Thanks for the photos of this amazing exhibit. I hope to get there to see it in person. Very powerful and evocative.

Leave a Reply

Let It Flow

October 24th, 2015


Ahoy there, mateys! Just picking up from my posts of June 29 and July 1. Seems like I row row row my boat, get off of it, get back to it, and row some more. Isn’t that how everyone courses through their bigger projects?

Please excuse the metaphors, if they don’t float your boat. Always thinking of my son and his fiancee as they about halfway through their one-year trip sailing the Great American Loop, which you can read about on their blog, sailbatic.al.

To refresh everyone’s memory, including my own, the wind beneath my sails is a challenge from Quilts for Change, titled Water Is Life. See this post for info, and this post for my launch of the project.

The weavings came together, with lighter and darker sections cut in curves and overlapped, as shown above. Then, I added stream of consciousness phrases with free-motion script:

  • Justice
  • transparent governance
  • wellsprings of knowledge
  • flow of info
  • ponder policies
  • unclouded judgement
  • funding streams
  • wo/mandates
  • fathom the depths

After that, some dense quilting in wavy lines. Then appliques to lighten some areas, tone down others, add interest and contrast and texture.



The finishing was a whole ‘nuther trip around the bend. One rust binding all around wasn’t enough, so that became an inset with a pieced binding.


Still not enough. So I auditioned several different sizes and colors of rickrack. Aqua, white, yellow, blue and gold…

DSCN2893     white rickrack

Opted for a yellow green to add light to the whole. Or, as a mutiny against spending more time and angst over this piece. (I’m ready to set sail on a new project.)

Yes, after months, I have finally reached the shore and completed my art quilt today! And submitted images, a bio and a statement.

Title: Let It Flow

Water is a deeply complex issue, swirling with interwoven challenges of safety, security, social justice, and access.

Only transparently clear, progressive, democratic governance can ensure a good flow of information and funding streams.

As the traditional water gatherers who understand what is best for their communities, women deserve a place in discussions and decision-making. When mandates become “womandates,” results are life-affirming.


Done! And 9 days before the deadline: a record for this captain of last-minute industry. Making art and quilts is usually a lonely, isolated journey, so comments and constructive criticism are always very welcome! 

Let-It-Flow,ELevie – Version 2


4 Responses to “Let It Flow”

  1. I LOVE THIS! Big congratulations on getting it done on time. I have never entered an international exhibition that required mailing on my own because I have NO clue how to do it. This is a very poignant theme. I think the exhibit will be WONDERFUL. What really sealed the piece, IMHO, is the inner border + the pieced outer border + + + the rick rack which really made it shine! Sometimes, MORE is MORE is the needed finish. This is an absolutely GREAT piece.

  2. Karol says:

    Reminds me of the beautiful flowering trees I saw riding through Center City with you. Carry on, friend!

Leave a Reply