Painting the last swipe on the canvas I’m exhausted. overtired. Eyes are dry from staring for so long, resisting blinking, absorbing the colors in front of me beyond the feeling of almost madness.
The large square canvas must cure overnight. I shirk off my robe and wash up. Looking down at my hands every finger tip on my right hand is a pale turquoise mixed with white. Brushes clean up easily, reshaped, they are left to dry.
Outside my eyes adjust and my mind enters the parking lot, I begin to see reality again. Looking at my hand holding the key….a splotch of bright red has dried on the back of the palm. A little paint is evident.
The paint colors and shapes in my brain is still there. Lingering. Stroking the nerves barely sheathed with the silence of the drive home. Walking in my home I’m greeted by dogs and my mom. Adjusting to normalcy is what I need. I hit my bed to let the flow of shapes run out of my ears. I rise and make dinner.
I don’t recall the last time I have been so motivated about a piece of art!!
16 months ago I started asking for Peace in my life. At the time I didn’t know exactly what I was asking for. Life answered with a culmination of events that changed my life.
Peace arrived with eating plants. This little seed is germinating the sign of peace inside. I’ve found peace with my body and the animals around me…and it has continued to wind it’s tendrils around other areas of my life. Peace is not found in every moment, but it is continuous, gradual and more meaningful. The multitude of feathers are a symbol of healing prayers.
Completed and ready for sale–contact me if you’re ready to collect an original Bessesdotter.
Peace: for all, for animals, for us. This work contains seed of peace–tucked in the details–safely swaddled and with a bold headdress.
I started regularly asking for peace about five years ago. It eludes me still. Maybe I don’t know in what form peace can enter my life. Until it becomes clear, I’ll make peace in my art. The reflection of peace in the art can shine it’s reflection boldly back out into the world.
When queried about the yellow box in a recent piece I am stitching, I hesitated to respond. I know why yellow is vital to the piece. I like enigma in art and am not always prepared to explain.
Explaining my art can leave me feeling vapid, exposed and finally, curious: what does it mean to others to ask what it means to me. Then I reflect on that for some time and have to pull back. What do I want to share. How much of me do I share. I am not a selfish being. Helping people and volunteer work is a vital part of my life.
The desire to not share my feelings about my work comes from a place of being solitary. I like solitude. There is comfort in aloneness, making art and having a sense of peace. Spending years out in the country, alone and surrounded by nature, open fields and woods, that setting is a place of deep comfort. I don’t like a life thoughtlessly lived with abandon, but instead prefer focus and measured thinking, analytical and rational thoughts, philosophy and reflection.
Back to the yellow box. It is related to wisdom. And more.
The center. The viscera. Gut instinct. The fire in the belly. Desire. Power. Personal power. Energy . Vitality. Self control. Inner strength. Personal authority. Efficiency. Purpose. Perfection. Will power. Control. Anger.
Focusing on that space allows me to find a balance between inaction and overreaction. It says I have the power to choose. I travel into the yellow box, deep in the maze, amid the noise, the traffic, following the patterns that civilization has already prepared. Finding strength there and relating it to the purpose of my own life…the exploration of my power center. Being contained in the yellow space allows me to radiate this information through my own body space. How do i find my way there…? how do you…?
Many thanks to the vibrant and hardworking students of Kutztown University and their beautifully lit gallery on the main street in Kutztown.
These students are smart and resourceful and work hard to bring art to the community. They wrote and asked if I would be interested in having an exhibit at Eckhaus Gallery in the spring of 2016. I agreed and then they handled everything – all I had to do was show up on the appointed date and they were prepared to hang the show with me. After quickly explaining my required selection and placement of objects they set about measuring and hammering.
The conversation was rewarding and it was interesting to hear what they had to say about art and college and their own plans for their art or careers. We had a lot of fun working together – and they were so willing to assist in every way with carrying work, handling it carefully and with respect, arranging for posters, price lists, photographs, publicity and a signboard. Senior students provide structure and have interns working along side to provide support. Their willingness to lead, listen, support and general good nature is one of the reasons I truly enjoy working with student groups. The evening for the exhibit was March 18th and they provided food and drink, a sign board on the street, and interns were there for support to help collectors and guests with questions.
Danielle Notaro – a poetic collaborator dramatized her poetry while giving a tour of my works that were one display. It was a memorable early spring evening!
Several new series were born as a result of doing small studies this winter. The studies are being shown this weekend as a part of exhibition containing a few watercolors and some significant works in fiber that are eco-dyed, handprinted and hand embroidered. I am an irreverent quilter and don’t follow many rules. Sometimes I experiment with fusible, battings and surface design before I quilt. The purpose of it all is to find the look, I am searching many traditional techniques and then bending them to my own style to get a texture and quality that I am not ready to define yet. I’ll know it when I see it.
Cutting on the bias, using my sewing machine, or working by hand, washing, ripping, tearing, machine thread painting, hand embroidery, framing, binding, not binding, giving structure on wood panels, using bamboo to hang work, vintage silk, found objects, eco-dyeing, tea dyeing and over-dyeing, mono-printing, heliotypes, and beading are a few of the ways I am working with fabric now.
Emerging are what I call Spirit Cloth’s…they are worked in a meditative state and result in a pure form of hand and mind being one and the same, a positive flow of the spirit of the artist.
There are also images born out of my love for the earthiness of tilling and gentle farming of grains and vegetables. The works include deep night skies and are simply stitched by hand.
Its a great time for me and my need to explore what is available to me in fiber and art. Today I am scaling up one of the series and am excited to find new ways to bring the color and stitching to life…
Textiles have memory and can also take on new memory and shape. How we handle textiles, stitching by hand or machine, cutting straight, curvilinear or on the bias (diagonal), sewing curves, surface embroidery, and quilting all disrupt the weave of fabric.
This particular quilt began with a piece of white cotton fabric hand dyed and backed with cotton batting and a muslin quilt back. If I’m not hand sewing, the cotton batting works fine for machine sewing.
I quilted an overall pattern in a medium teal Metrosene thread and then began to add thread painting with shades of silver, graphite, burnt sienna, gold, black and bronze rayon embroidery threads. I added the top grey and bottom rust sections after the majority of the thread painting was underway.
Then the final quilting helped to flatten out the lumpy bumpy hillocks and creases left from heavy but uneven thread painting. Still wonky and now only a series of gentle rolling bumps and lumps the last step is to block before finishing. Photo below shows some of the warping that happens to fabrics that are stressed.
Before binding, the quilt will be dampened and blocked to de-stress the fibers and give it the shape I want it to have.
The blocks are an interlocking grid that can be used many times over. 9 foam blocks come in a pack and can be put together in many configurations. You can purchase double or triple sets if you need them for larger projects. These have a small footprint for storage and last for years. I know you can use large inexpensive insulation board or even a carpet. The insulation board comes in 8′ sheets and a carpet would need to be rolled up for storage. I don’t have that kind of extra room to store bulky objects in my studio. At $24.99 they are a good deal and they store on a shelf.
You’ll need the following:
Blocking grid or mat
T-pins (rust proof stainless)
Spray bottle filled with fresh clean water
I put enough blocks together to make the grid fit the quilt in this case 4 sections work.
Placing the quilt face down I spray generously with water and smooth it out with my hands. I flip the quilt over squarely in the center of the grid and spray the top with water. It should be damp but not soaking wet.
Next the pinning begins. Starting at the center of the top, taking a t-pin, I press it at an angle through the quilt edge into the foam block.
I continue to place a t-pin at each center point along each side–while gently stretching the quilt and smoothing it. Then push a t-pin 3″-4″ apart on each side of the center pins. Again, I gently smooth and stretch the fabric as I go. Repeat on each side until the quilt is fully but gently stretched. See the photo below – pins evenly spaced and sides of quilt look wonky. They will be trimmed after drying.
My home is very dry and if I do this at night by morning the quilt will be dry and flat. The next step will be to trim to the size I like and bind if desired.
Below is the next day – flat and free from ripples:
Note: I do not use an iron or steam unless it is absolutely necessary. I use a mixture of fibers and a hot iron could negatively affect delicate threads or fabrics with a hot iron set on cotton and would flatten the beautiful quilting textures. I also don’t use measuring guides. These are handmade, work of art and meant to meander and have shape and texture. I am not looking for perfection, but want it to hang crisply and neatly.