Hearts in linen

Valentine’s Day 2016.

hearts in linen
  
This day marks the time when my love for making art results in the Spirit Cloths that are in my hands most days. 

Several hours daily are going to embroidery and hand stitching. The machine comes in to do some laborious tasks. There is less quiet time, but the movement of my hands is slow and there is a zen to it nonetheless. 

Once the embroidery was completed, the batting and backing attached, the machine quilting is being completed.

at the bernina 820
  
top down view at the machine
  
side view show depth of quilting
  
front view
  
up next
  
center completed
  

Broken Threads

A long night of breaking threads at the machine.

Tea dyed muslin under the presser foot

Needles breaking. Threads breaking. Again and again. Adjusting tension and trying little tricks to keep everything running smoothly.

It happens with hand stitching too. Knotting up, catching a thread on the back, tangling. Sometimes it’s that kind of stitching: tangling and knotting.

Learning to wrestle wrought threads.

wound tightly.

Unbound.

Loosened. Breathing.

Softness.

This is the nature of thread work. It teaches me to allow anger in and out—no withholding of breath. Letting it be its own nature. Turn off power and tidy the sewing room. Go to relax and read a bit

morning. opening the sewing desk and do my morning ritual of preparing the machine with basic maintenance. Open the bobbin case. Get the dust remover, brush and oil. Ahah! The culprit exposed in the sunlight streaming through the window. A tiny speck of shredded rayon thread is barely visible under the auto cutter. Another fine long strand is found at the bottom of the case

I remove the threads, flush with air, brush well, oil bobbin and put it all back together.

Last night I did that twice. But I couldn’t see the small specks of thread. Even with my Ott Light.

Under light of day everything is exposed and seen with clarity.

Learning balance and timing, during fatigue and frustration was not the time to problem solve. Bernina sews like herself again.

Prayer Wheels

jonas kept me indoors and stitching while the white flakes were flurrying furiously out of doors. stitching while drinking copious cups of constant comment tea. time to think while i stitch. stitching and staying present. the needle keeps my mind fresh and fingers nimble. watch the thread, like a bell, a prayer wheel, staying with it. mother reads and cleo snores gently. rory guards our home while we sit out the storm.

Prayer Wheel – spokes

 

Prayer Wheels

moving through the piece

Prayer Wheel – Edge

 

Top Down

sharing the process

overview

time for more tea. Thoughts come. Go. Pass through the wheels.

 

Monoprinted Muslin and Stitching

This work is being shown at a mid-way point.

Eco-dyed and monoprinted muslin with pearl cotton stitching.
Eco-dyed and monoprinted muslin with pearl cotton stitching.

One photo shows the stitches close up. I am fascinated with Sashiko, a Japanese backstitch style, but I have adapted it to my style. Tradition is good, but Bessesdotter employs non-traditional work because there is a deeper feeling of self expression that makes the art close to me.

I’m in love with the look of the perle cotton against the ragged eco-dyed muslin. The muslin was a scrap from dressmakers patterns and is being put to good use instead of throwing it away. My golden stitches remind me of a spiders web or perhaps a comet with a tail. The sewing is slow–deliberately slow–but not intentionally placed. It is more of a ‘let the needle find its path’ type of sewing. Nothing is planned here–all is spontaneous working of the threads and fabrics together.

The second photo shows the setup better—I’ve recently acquired a Q-Snap Hoop and an Edmunds standing frame. It is more comfortable to stitch on smaller project like this one which is about 30″ x 18″ piece of muslin.

Embroidery in my Q-Hoop frame set in an Edmunds brand standing wood frame. Perfect for stitching.
Embroidery in my Q-Hoop frame set in an Edmunds brand standing wood frame. Perfect for stitching. Antique wood arm chair: leopard print.

 

 

Eco-Dyed Scarves Slow Art

Spiraled silk stuffed with garden blooms, wrapped with copper wire
Spiraled silk stuffed with garden blooms, wrapped with copper wire

Deadheading annuals and perennials is no longer such a chore, now I look forward to gleaning the spent blooms to eco-dye fabrics that I can use to create intentionally embroidered objects.

Sunday I bundled a dozen silk fabrics with zinnias, hibiscus, maple leaves and some native Pennsylvania wildflower heads, with various tea leaves and spices, rolled them up tightly, wound into spirals and wrapped rightly with copper wire. Placing them into zipper bags with vinegar and then into a small washtub to wait…2 – 3 weeks before removing them and drying the fabrics which will then be ironed.

Its a hedgewitchy-alchemical process, the gathering, crushing the flowers, making these brews and the waiting. Its a slow process. And much slower than opening a tube of paint and squirting it out, blending and brushing it onto a canvas. It is spontaneous though and allows for much experimentation which I appreciate.

This is part of an evolution that I am in—-slowing down—-making the art slowly, mentally absorbing the process documenting it. The waiting, wondering which blends will be favored and successful. When I woke this morning, I checked them first, as they reside in my bathtub, packed into a small red washtub, the aroma of flowers and spices hit me full in the face. What a pleasant way to make art.

Spirals are making their way into my work again, aboriginal and abstract, the essence of life, they are an image that seems to be often found in my art.

I’m using the red……

the essence of what connects as humans.

women to their children.

bloodlines.

The Red and The Blue.

Mitachondrial DNA.

Green. Life. Planet.

2015-08-08 10.26.55
Couching silk/bamboo yarn onto a vintage linen napkin. Red threads were used traditionally in Red Work Embroidery and Turkey Work.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Into the Now Nothingness

Like other Melusine’s I’m drawn to the woods, its not just the gloaming, but everything about the forest dwells in my heart.

melusine shadowed
Open Door

The death-quiet, a merciless monument that I enter as a noisy intruder that I’m certain the residents resent. I imagine scurrliness messengers warble warnings, Shee-zeer! Shee-zeer! My imagination is more about me than I desire. I wish to be as Sleeping Beauty thinking they are noticing me. But they are more concerned with their tidy lives, made in instinct and lived moment to moment.

Quietly making my way along the tangled trees, brambles, briars and bracken I can pick out favored shelf fungus, crumbling lichens and indian pipes along the paths. There is delight in the decay as the forest makes itself over flourishing its broken down limb littered leaf-decayed floor.

melusineThere’s an aroma that lifts from damp leaves, moldy with ashey spots and black rip edges as they catch on my feet. Twining twisted vine twirl about me in a rage at the dying of the season.

A token of love

I bring man-made artificiality to the Nature. Diminutive in stature compared to the Nature, the human makes its mark in creating tawdry and putting a price on it.

We churn it, first in the making, then the marketing, the amassing and finally the discarding. We cannot dig our holes deep enough to contain the baubles. Steady streams run-off products and by-products and the empty worth trailing off into now-nothingness. Land. Ocean. Space. Will fill them all.

An installation and self portrait I created in the woods 2002—Photographed credit: self.