1000 Quilt Inspirations

I am honored to have my work published in Sandra Sider’s 1000 Quilt Inspirations, Colorful and Creative Designs for Traditional, Modern, and Art Quilts.  From the cover and the turn of each page, this book delivers on its title. Click on image for a larger view.

I even like the size of the book, a table-top friendly 9 1/8″ square.

I submitted samples of my work for this book in 2014 and wrote about it here and here. The book was published by Quarry Books in 2015, the year that I moved from California to Oregon. I  didn’t learn which of my works had been selected for the book until I purchased it. Five of my works were selected for the Pictorial Art Quilt Designs section. Here are three of my Broken Ginkgo series.

And the last two, more play with one of my favorite subjects.

Works here represent every imaginable technique created by artists from around the world. There is truly something here for anyone who is interested in creating or simply appreciating the art of quilting. I find myself browsing this book, finding something new each time I do.

How do you stay inspired?

Eucalyptus and Fig

I’ve just completed a piece that I’m quite happy with. This piece is a very satisfying combination of old, new and hand made: my old cyanotype print on silk of a eucalyptus branch and new cyanotype prints on hand-dyed cotton of young fig leaves; some of my hand-painted fabric and hand-made fabrics from Africa. I met Janet Rothermel last year in a class at Oregon College of Art and Craft. Janet is a local pastel artist focusing on landscapes — check out her work here. Janet has a thriving garden filled with endless possibilities for printing and she was gracious in sharing some young dried fig leaves with me. The small size and great detail of these leaves are very inspiring.

After the concept for this piece was formed, the fabric was pulled for audition. Click on an image for a larger view.

I don’t expect to use every fabric; I do want enough choices to put pieces on the design wall and see how they work together. Here I’ve begun to cut strips and place them in possible layouts.

Possibilities include the direction of the cyanotype prints.

This step takes patience but is well worth the experimentation. While I was still considering a variety of possibilities, I became eager to begin the thread painting process. So, off I went to the machine.

I truly enjoy each step in the creation process, but the thread-painting step is probably my favorite. A little side note about the print: The eucalyptus trees that were near my home in California are the variety with long, slim leaves and beautiful acorn-hard capsules. The print above was created using a variety I found just outside Sulphur Creek Nature Center in Hayward. The leaves of this variety are shorter and wider, have a lighter grey-green color and, at the stage I took a branch, have clusters of tiny buds that will eventually open with white flowers. I enjoyed rethinking my process for defining the leaves and blossom buds. I began the process with a variegated green trilobal polyester thread. Next I went back with an olive-green polyester thread and finally I did some shading with a brown 50-weight cotton. Once the thread-painting was complete, I stitched together the fabric strips for the quilt top.

I spray-baste my quilt layers. Yes, sometimes I get a bit heavy handed with spray and that can lead to a sticky build up on the needle. It always cleans off easily and I move on. I am less annoyed by this than the process of removing pins or other stabilizers while I am quilting. I began by quilting the eucalyptus and the fig cyanotype prints using blue 100-weight silk thread. Next I marked the remainder of the quilt with guide lines.

See those vertical white lines? Those are my guides. I use just two marking pens. The pen on the top of this picture leaves white lines on dark fabric. These lines will disappear with heat from the iron when I block the quilt.

The blue pen creates blue lines on light fabric and is removed with water.  Now the quilting can continue.

When the quilting was done, I blocked the quilt, trimmed the sides and top and put it back on the design wall to determine how long I wanted the bottom panel.

I decided to trim 3 1/2 inches from the bottom. Next came binding and the hand work.

My studio assistant aka Cooper was more than happy to stay close while I was busy stitching Colonial knots in each of the bud areas. This art quilt measures 48″ x 19″.

 

 

 

 

Threads of Resistance — Final Word

I received word from the curators and jurors earlier this week and my piece was not selected for the Threads of Resistance exhibition. Four Hundred artists from around the world responded to this call for entry with 550 artworks submitted for consideration. The ten curators and jurors of the exhibit have their work in the exhibit leaving just 49 pieces selected from the 550 entries. Now that’s stiff competition!

I am confident that the exhibit will be exceptional. I know seven of the artists who had their work selected and their work never disappoints. If you haven’t viewed all of the work submitted yet, I encourage you to do so. I shared information about an on-line viewing that is available and provided the link here. You can view the schedule for this traveling exhibit by clicking on the ‘schedule’ tab.

I will be keeping my eye open for other opportunities to share my work. My resistance to the Trump administration doesn’t stop here.

Threads of Resistance Update

I don’t anticipate hearing from the Threads of Resistance jury team until the end of this month but I think an update on where they are in their process is in order.

The call to submit generated over 500 entries — not a surprise to me at all. There are 17 categories which group the submitted art. I have no idea how many submissions will be selected for the traveling exhibit. I can only guess that it will be well under 100. I’m glad I don’t have to make the decisions on this because there is some incredible art to choose from.

I originally posted about my entry here. I’ll be sure to let you know if I made the cut as soon as I know.

If you would like to see all of the art that has been submitted for this exhibit, go to the Threads of Resistance site here and click on ‘The Artwork.’ Enjoy!

Awards

I always feel that gaining entry to a judged and juried exhibit is a reward in itself. So I could not be more happy about having three entries accepted for Best of the Valley 2017 and having all three come home with a ribbon. BOTV 2017 was held in Lindsay, CA, April 7-9. Click on images for larger viewing.

Going in Circles received an Honorable Mention ribbon. My artist statement for this piece read:
I find myself seeking more opportunity to create design with hand stitching. This quilt’s background was constructed by arranging pieces of torn fabric onto a background fabric, topping that with tulle, then layering with batting and backing before machine quilting. All surface work on the quilt is done by hand using a variety of materials and techniques.

Broken Tulips received a Third Place ribbon. My artist statement for this piece read:

This quilt was inspired by a stunning bunch of tulips that brightened my home in the spring of 2016. The pattern was created using a photograph of the flowers.

Precious Metals II received a Third Place ribbon. My artist statement for this piece read:

The lure of the ginkgo leaf is still very strong for me. This piece is a riff on Precious Metals created in 2012. Again, the leaf sparkles with copper, silver and gold, the precious metals, and the circle is emphasized with beading.

 

 

Threads of Resistance Entry 

Within minutes of reading the Threads of Resistance call for entry — a juried exhibition of work created to protest the Trump administration’s actions and policies — a lightening bolt of inspiration hit me. I knew the subject I had to address and what I wanted to create. As always, the technical issues were resolved in the process of construction.

Though not a color I enjoy working with, the choice was clear — pink. I pulled fabrics from my stack and then went shopping. Click on images to reveal a larger view.

I was happy to sign Cecile Richards’ on-line letter thanking the staffs of Planned Parenthood centers across the United States for their stalwart support of their communities. I printed the letter on twelve different fabrics. Next I started experimenting with the layout of the letters on the background fabric.


It took several layouts

to find the one that worked the best.

Here’s the final layout.

Next came the message. I used one of my alphabet stencils, drew out the message and enlarged it to the appropriate size. After reversing the image, I printed it on WonderUnder.

Marking and thread selection were up next. That’s 110-wt. silk from Superior Threads. I love the way it quilts, almost melting into the fabrics.

And here it is quilted and blocked. I still get a kick out of how both the water soluble marker (blue lines) and the heat sensitive marker (white lines) disappear during the blocking process. It’s my kind of ‘magic’!

Now to get the placement of the wire hanger right. After pinning a hanger to several spots I settled on this arrangement.

Here’s the completed piece.

And a detail image:

My artist statement for this entry reads:  In a 7-2 decision on January 22, 1973, the Supreme Court stuck down an 1857 Texas statute that made abortion illegal except where the life of the mother was in danger. In its ruling, the court recognized for the first time that the constitutional right to privacy “is broad enough to encompass a woman’s decision whether or not to terminate her pregnancy.” Immediately after Roe was decided, opponents of safe and legal abortion urged state and federal lawmakers to pass laws stripping away at or banning abortion. We must not step back 160 years by allowing this right to be taken away.

Threads of Resistance will premiere at the New England Quilt Museum in Lowell, MA, on July 11th and will travel throughout the United States. See the current confirmed venues here. The organizers continue to seek more venues and will be updating their website as they are added. I have every confidence that this will be a very powerful exhibit, encouraging conversation on many topics.

Accepted for Best of the Valley

I’m pleased to say that my three entries for the Best of the Valley exhibit have been accepted. Broken Tulips (click on an image for a larger view)

Going in Circles

and Precious Metals II

will be on display

April 7 – 9, 2017

McDermont Field House

365 North Sweet Brier

Lindsay, CA 93247

See this link for more details about Best of the Valley.

I had work in this annual exhibit in 2012 and 2015.

 

Precious Metals II

At last — I have completed Precious Metals II. Like the work that inspired it — Precious Metals — this piece is 12″ x 12″. Click on image for a larger view.

Precious Metals II, 12" x 12"

This color pallet is especially nice to work with during the Fall season and I thoroughly enjoyed the meditative work of beading.

Precious Metals II detail

Precious Metals received quite an honor at the Best of the Valley show in 2012. Shortly after that it was sold. I hope to have this piece to enjoy for a while.

The leaves are dropping, decorating the sidewalks and gutters, inspiring more play with this beautiful shape.

12-04-15-ginkgo-fallen

I hope that you are enjoying this season in your neighborhood.

Precious Metals II

It’s not a secret that I’m drawn to the ginkgo leaf. I love seeing them on and off trees. Click on an image for a larger view.

12-04-15-ginkgo-fallen

Nature has a beautiful way of shedding and arranging the leaves.

12-03-15-ginkgo-fall-composition

I’ve enjoyed using these photographs for some fun sketching.

12-04-15-ginkgo-sketch

In 2011 I created a small piece called Precious Metals. It won an award and sold almost immediately, leaving me little time to enjoy it.

Franki Kohler, Precious Metals, 12" x 12", 2011

As the season changes to fall, I’m reminded again of the beauty of this leaf as it changes color and falls from the trees lining my street. I was thinking of Precious Metals and decided to create another version of it. It didn’t take long before I had formed an idea. I started by bringing out possible materials to use. Then I created a design directly on the background fabric using a water erasable fabric marking pen. Once my machine was cleaned and oiled, I started the thread sketching using a gold thread over gold organza.

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This organza has tiny bits of sparkle attached to the surface — perfect. When the thread work is done I carefully trim away the excess organza fabric. Here are the gold leaves finished. I am doing this thread sketching through all three layers of the quilt. Because of that — and the added layer of organza for each leaf — there is no need to use an embroidery hoop or pins to stabilize the fabric while I stitch.

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Next I used silver metallic thread over a silver organza. It’s difficult to see the organza against the light oatmeal fabric, but it lends just the extra sparkle I was looking for.

09-16-16-precious-metals-ii-c

Copper was next up — here is the orange tulle in place:

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With the thread sketching complete, I turned to auditioning possibilities for quilting and beading. I was thrilled to see a bit of the fabric I had used on Precious Metals for the binding. It is so perfect for this combination of gold, silver and copper.

09-17-16-precious-metals-ii-e

I liked the idea of using Superior’s variegated metallic thread to quilt the background. I had a good start on quilting but quickly decided I didn’t like the look — it was too distracting, stealing the thunder from the central design of the ginkgo leaves. So I spent some quiet time taking out the quilting. Instead, I used YLI 100-weight silk thread, color 239 on the top and the same thread, color 242, for the bobbin.

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I love the way silk thread loses itself in the thick pile of this fabric. It creates a subtle overall texture on top of a heavier texture already there.

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And the bobbin thread accomplished the same goal on the back.

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And the beading has begun.

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I am loving this quiet, meditative hand work. Stay tuned for the finish. And oh! Happy Fall.

Added Venue for It’s Not Easy Being Green

In addition to the venues I told you about here, the exhibit will appear

September 20 – October 27, 2016
Visual Arts Center Gallery
Mt. Hood Community College
26000 SE Stark Street
Gresham, OR 97030

Artist Reception:
Thursday, October 6th
11:30 am to 1:30 pm

Unfortunately, I won’t be able to attend the artist reception. I will check out the exhibit though. Click on the link above to see when the gallery is open.

Accepted For It’s Not Easy Being Green

I recently learned that my work Forget Me Not: Collaboration with Grandma has been accepted into the High Fiber Diet exhibit It’s Not Easy Being Green.  Three jurors selected 31 fiber creations, each including at least 25% recycled, repurposed or organic materials while expressing a struggle, whether personal or universal. (Click on image for a larger view.)

Forget Me Not - Collaboration with Grandma, 54 1/2" x 20", 2012, Not For Sale

The 3 jurors, Pat Bognar, accomplished photographer and teacher, Trisha Hassler, a superb mixed media artist and Columbia FiberArts Guild member, and Bonnie Meltzer, a transformative mixed media artist, contemplated 44 submitted fiber artworks to select 31 dynamic fiber creations for the exhibition.

High Fiber Diet is a sub-group of the Columbia FiberArts Guild, and is comprised of a group of artists located in southwestern Washington and western Oregon who choose to work with fiber to express their interpretation of the world and themselves. The members are committed to understanding the academic principles of art, integrating them into their individual creative processes, and applying their understanding of composition and design. I am thrilled to belong to a group who is committed to high standards of artistry and professionalism and who has for over twenty years successfully produced juried exhibits of fiber art, both two-dimensional and three-dimensional, and wearable art.

Three confirmed venues for 2017 include: La Conner Quilt and Textile Museum in La Conner, Washington, February 1, – March 30, 2017; The World Forestry Center Gallery in Portland, May 12,  – July 23, 2017; and Latimer Quilt and Textile Center in Tillamook, Oregon, September 1  – October 30, 2017. Negotiations for more venues are underway now. Watch for details in the near future.

Read about the work of my grandmother Hilda Elizabeth Packer Preston, its inclusion in this piece and awards that it has already won here, here, here and here.

Broken Tulips Done

In May I shared my inspiration and beginning of a new art quilt. Much has happened to distract me from completing the project, not the least of which was a persistent fear of doing the wrong thing. Thank you Kay for shooting that monkey on my back! And here is the quilt. (Click on image for a larger view.)

07-27-16 Broken Tulips

The last step in completing this piece was using white paint to highlight the areas where the sun turned the yellow-tipped petals white. It’s one thing to make mistakes using thread, it’s entirely another to make them using acrylic paint on a finished piece! Before painting the completed piece I experimented with the paint on fabric scraps from the stash that I used to create the piece. Why I didn’t think of that much earlier is a mystery. I can only say that I was listening to that monkey on my back and wasn’t stepping away to allow more clear thinking. Once I experimented with the paint and could see its effect on the fabric I felt a surge of confidence and dove right into painting.

This piece is 12″ x 12″, a size I like working in. Once again, I must acknowledge my gratitude to my friend Denise Oyama Miller who introduced this style of art-quilt making to me in February 2012. I have enjoyed the process of using it many times — search “Broken Ginkgo’ in the Art Quilt category to view more examples of this technique.

Acceptance at Art on Broadway Gallery

Two of my works have been juried into a guest show titled “minimal – just enough” at Art on Broadway Gallery. The gallery is located in the heart of historic downtown Beaverton and specializes in original fine art by award-winning local artists.

The call stated in part: “This show can apply to just about any art form. ‘Just enough’ could refer to a minimal number of colors, or to design, subject, or material.” The pieces accepted for this exhibit are Sunflower Scrap I (click on image for larger view)

Franki Kohler, Sunflower Scrap I, 12" x 12", 2012, For Sale

and Sunflower Scrap III.

Franki Kohler, Sunflower Scrap III, 12" x 12", 2012, For Sale

minimal — just enough

July 1 – 30, 2016

Art On Broadway Gallery

12570 SW Broadway

Beaverton, OR 97005

Artists Reception:  Saturday, July 9, 5 to 8 p.m.

If you are in the area, I hope you make a point of stopping in to see the exhibit.

 

Three Accepted for Fabrications

I’ve just learned that three of my entries for the Columbia FiberArts Guild exhibit Fabrications have been accepted. The jurors had 70 submissions to consider and 37 were selected. This is the first exhibit I’ve entered since my move to Portland last summer. The call for this exhibit stated simply:

We are looking for creative, bold work displaying a solid command of design principles and appropriate technique.

The accepted pieces are Broken Ginkgos II (click on image for larger view)

Franki Kohler, Broken Ginkgos II, 12" x 12", 2012

 

Broken Ginkgos III

Franki Kohler, Broken Ginkgos III, 12" x 12", 2012, For Sale

and Broken Ginkgos V

Franki Kohler, Broken Ginkgos V, 12" x 12", 2012, For Sale

 

Fabrications will be on view

August 1st – September 30th, 2016

ArtReach Gallery

1st Congregational United Church of Christ

1126 SW Park Avenue

Portland, OR 97205

Opening Art Reception
August 4th, from 5-8 p.m.

 

Concrete & Grassland Exhibit

I attended the opening artists’ reception for Concrete & Grassland June 3rd. This juried exhibit is a collaboration between Studio Art Quilt Associates and the Grants Pass Museum of Art and features 57 art quilts by 57 artists.  SAQA artists were asked to submit works that explored either the soft lines of nature or the hard lines of urban structures, or a combination of both. Almost 400 entries were submitted from around the world, including the United States, Israel, United Kingdom, Canada, Australia, Belgium and Lithuania.

Several of my friends from the Bay Area have work in this exhibit and attended the opening reception so I was eager to see their work and them. The exhibit had a nice splash of notice in the Grants Pass Daily Courier on June 3. Click on an image for a larger view.

06-03 C&G 1

The date was also the First Friday Art Walk day for Grants Pass so attendance at the opening was very high. I heard one of the museum docents comment that well over 200 people had come in during the first hour.

Photography was limited — prior permission from the artist was required — so I have only a few images to share here.

Dolores Miller wrote this about Monument for Humanity in the catalog: “La Grande Arche de la Fraternite, the westernmost element of the Triumphal Way in Paris, was inaugurated in 1989. Rather than glorifying military victories (as does the Arc de Triomphe de l”Etoile), the hollow cubic structure with its grand staircase was designed to express humanitarian ideals and inspirations.”

06-03-16 Dolores-Miller-1

Jennifer Landau says this of her entry Root & Branch:  “Natural and human-made systems are positioned side-by-side, one grounded in the concrete grid and the other in topographic meandering.  Peel away the outer layer of urban structures and peek beneath the streets.  There is a branching infrastructure of pipe and wire that maintains human life, just as roots and branches sustain trees in the natural landscape.  Roots may curve as they delve into the soil and pipes may stretch straight beneath the pavement, but both allow water and energy to flow where needed.  Streams wind through the landscape, small branches joining into rivers, while neighborhood streets connect to cross-town arteries.  The relationship of the two worlds is not always benign, yet on good days we experience them seamlessly, two halves of our existence neatly zipped together.”

06-03-16 C&G-Jennifer-Landau

Denise Oyama-Miller shared her joy in creating Grass Lake for this exhibit:  One of my favorite spots is a lovely rest area along Highway 97 at about 5000’ elevation, just outside of Weed, California.  At one point, it actually was a lake created by a lava flows that blocked a drainage path on the east side of the valley.  There was a hotel on the same site as the rest area.  In the early 20th century, a development project inadvertently broke through the seal of the porous lava rock, and the water drained out through what is called “The Glory Hole,” which is still visible today.  What is now left is a large, beautiful “wet” meadow just east of the southern Cascade Range.  It is a quiet, peaceful spot to watch the herds of cattle in the distance, nesting sand hill cranes, and the rare tiger salamander.”

06-03-16 C&G-Denise-Oyama-Miller

Geri Patterson-Kutra created Room With A View 2.  She says, “We create urban environments not only to provide shelter, but also to satisfy economic mandates, neglecting our natural world and limited resources.  Power lines march across the landscape delivering the electricity to light the cities and power industries.  Our homes are built shoulder to shoulder on concrete slabs, ignoring the fragility of the earth below.  My work explores the juxtaposition between grassland and urban demands.  Will the lines between the two continue to be blurred until our only memory of grassland becomes a screensaver on our computers?”

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The artists enjoyed lively conversations about their inspiration for the work.

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And there was catalog signing.

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And then just a bit of happy-moment posing. Here I am with Denise and Dolores — each of us is a former regional representative for the Northern CA SAQA Region.

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The exhibit continues through July 29, Tuesday through Saturday, 10 a.m. – 5 p.m., at the Grants Pass Museum of Art which is located at 229 SW G Street. If you are near the area at all, stop by to take it in — it’s worth the effort.

Storage System for Art Quilts

I have just submitted an entry for an exhibit with my new community of fiber artists. New communities have new ideas about how to do things. The rules can be long and detailed. It can seem overwhelming at first. Is this just a reaction to change? Perhaps. But darn! This is the kind of thing that does nothing to promote my art or spark creativity. Okay, okay. Once the grumbling was done, I saw the wisdom in the system for protecting and identifying art quilts during the submission/return process for exhibits.  In fact, I’ve embraced the system so completely that I’m creating storage bags for all of my pieces.

Right now my art quilts are stored rolled, tied with selvedge strips, hanging slat tucked inside the sleeve. Now I’m creating a bag for each piece like this:  Click on image for larger view.

05-25-16 First bag done

The fabric is a ‘retired’ bed sheet. Here are the steps I did for creating the bag:

  1. Cut fabric 16″ wide;  for the length, cut the width of the piece plus eight inches  (more about this measurement later).
  2. Turn top edge of fabric 1/4″ and stitch.
  3. Position a sandwich bag on the right side of the fabric. Use a zigzag-stitch on the sides and bottom to secure it.
  4. Center a tie on the right side, top edge of the back of the fabric and zigzag-stitch it in place.
  5. Right sides together, stitch a 1/4″ seam for the side and bottom of the bag. Turn right side out.
  6. Insert a printed page with a photograph of the art quilt, title, dimensions, your name and contact information.

The first one is done. Just nine more to go.

05-25-16 Nine to go

I cut all the fabric pieces at one time and assembled the information sheets, sandwich bags and tie supplies. If I had to do this again I would have done one bag to test all my measurements — hence, the suggestion above for a more generous length measurement than I used (five inches). What I have will work but it would be easier with a bit more fabric at the top.

Oh yes, I realize that the image at the top of my posting doesn’t have anything to do with this project but I couldn’t resist sharing what’s happening by the river. I’ll be watching the maturing of those blackberries very closely!

Tulips

Last month I had a vase filled with gorgeous tulips.

04-04-16 Tulips

I took many photographs of the flowers as they opened. This photo inspired the piece I am working on now. I chose to use a method that I learned from Denise Oyama Miller several years ago — she calls it broken color. I like the method and the results I’ve gotten using it before.

First, create a pattern. Transfer the pattern (reversed) onto fusible web, then cut the pieces out. Select fabrics and fuse the pattern pieces to the wrong side of the fabric. Cut out the pieces slightly inside the pattern line. Place the pieces under the pattern on a piece of background fabric. Here is the pattern with my fabric selections already underneath. Click on an image for a larger view.

05-11-16 Tulips, pattern with fabric under

When all the pieces are in their proper place, fuse the pieces to the background fabric.

05-11-16 Tulips, fabric fused

Notice the lines of background fabric which peek between the pattern pieces — hence the technique name broken color. Now for the stitching.

05-17-16 progress

My progress is slow but steady. This is the first work of this kind I’ve done since moving to Portland last summer, so I’m a bit rusty with my execution. I’m doing more warm up exercises to get back into my rhythm with free-motion work. I also like to tie off my threads as I go — say, every 2 – 3 pattern pieces. I find that I get into less trouble this way. The back stays uncluttered so I don’t have to spend time getting those loose threads untangled in the stitches I’ve done for another section of the work.

05-17-16 progress back

Of course, one has to have the right tools at hand but when I stopped to do the finishing work on the first few pieces, I realized that mine were not in their usual spot on my work surface. Now then, where did I pack those things last year? Happily, it didn’t take too long to find them. And here they are:

05-17-16 tools I use

I found this needle threader on line years ago — don’t ask me where, I can’t remember. But this is the only needle threader that I have on my work table while I do thread work. I’ll be back with progress on this work soon.

Meanwhile, I’ve completed the final notebook cover, the one I’ve made for myself. 05-17-16 notebook done

 

05-17-16 open

 

I enjoyed doing the hand stitching on this piece. This one sits in my desk, waiting for the day when I need it.

New work and a new app

I am still organizing my studio — really, an endless task when you think about it. The only way to find the best place for everything in that space is to get to work. So here I go.

This is my first attempt at new work in over a year and I am feeling a strong pull for something familiar and small. I see this piece as an exercise in getting started again, not necessarily as anything that could be meaningful to my portfolio. I’ve chosen the small challenge of working in a color scheme not familiar to me, purple. After pulling out a hand-full of fabrics that looked compatible, I hand-ripped strips of fabric and started laying them atop an 18″ x 18″ backing-and-batting stack. Here they are pinned in place with netting to the right.

02-07-16 background ready to stitch

The fabrics are a mix of hand-painted, hand-dyed, discharged and commercial. It is fun to see these ‘old friends’ once again.

And here it is stitched:

02-12-16 background stitched

I have no clear idea about where this is going. I have a couple ideas that are floating about including using fused applique, thread painting and/or handwork. I may use some of those techniques or all, but let’s just say you shouldn’t be surprised to see some old themes used here.

Meanwhile, inspired by friends who have an iPhone app for converting photographs to watercolor-like images, I have located a similar app for my android phone. I’ve even figured out how to use it — can we say I’m not an early adopter? — though I’m far from proficient. Here is a recent photo of my favorite tug on the Willamette River positioning a barge.

02-11-Favorite-tug

And here is the same photo after running it through my new app:

02-11-Favorite-tug-arto

Pretty cool! Stay tuned as I work my plan for creating art on a more regular basis.

What are your challenges lately? What new thing(s) have you tried?