"Blue Landscape" measures about 60"H x 50"W. I have a little bit of hand sewing to do on it, but it is finished for the most part. I have two solo exhibits coming up in August (
at the Wisconsin Museum of Art in West Bend, WI) and September (
Narthex Gallery in Shorewood, WI) and as usual I have to make a bunch of work. They are two very different spaces in size and expectation and I had two different ideas for bodies of work...one architectural (
for WMA) and one landscape (
for Narthex). Oh, I was so happy with myself. The
problem, it turns out, I decided to check the wall sizes out and as I suspected, the pieces I'm making for the landscape series are a bit too big for the alcoves. My heart isn't broken, of course. I just won't have a super deep separation of the architectural and landscape work. Oh, well. So much for trying to be thoughtful.
detail...
oooooooooooooooooooo...
detail...
aaaahhhhhhhhhhhhhhhhh...
The big red/crimson circle has got to be my favorite part of this piece...and I'm so pleased with myself for being able to get the color differentiation in the photo.
With the landscape series, I'm focusing on the painted surface as a shattered base for all the flying and floating elements. Compare the above and below images and you will notice that the top has a more subtle surface variation due to some fused metallic blue swirls I added close to the completion of the piece. The painted blue surface is certainly textural and graphic enough on its own, but something was missing. The fused blue swirls helped to visually integrate the bolder swirls. Without them, everything looked much too separate.
Can you see the difference in the surface? This is the
"before" shot. More is better used to be my chant and I'm
stickin' with it (
albeit in a more subtle version...if you can call my work subtle...hmmm). See how I was trying to be a bit too gentle with the
spiral-ish stitching? It worked for direction but not surface integration.
Blahblahblah.
And here you will find a few shots to convey my
stuffing-it-under-the-machine-arm frustration.
Anything to avoid three minutes of hand stitching, apparently.
All that cramming under the arm to stitch that little circle on. I debated for an entire cup of coffee and decided I would prefer the vicious machine work for this poor little circle.
More cramming in order to get that big, beautiful red/crimson circle sewn on. Yes, I debated between machine and hand sewing over still
another cup of coffee and once again chose machine over hand. And even more
caffeine.
More rolling and cramming. More coffee.
And last of all, the relaxed last little bit of the circle.
Coffee. What you can't see is that I had another table that I had to keep moving around (
with my foot) next to the main sewing table in order to prop up the fabric as I manipulated it.
Coffee. Finally, the most relaxing, bit...
making more coffee, you say...no. Ironing out the wrinkles.
"Blue Landscape" measures about 60"H x 50"W. I have a little bit of hand sewing to do on it, but it is finished for the most part. I have two solo exhibits coming up in August (at the Wisconsin Museum of Art in West Bend, WI) and September (Narthex Gallery in Shorewood, WI) and as usual I have to make a bunch of work. They are two very different spaces in size and expectation and I had two different ideas for bodies of work...one architectural (for WMA) and one landscape (for Narthex). Oh, I was so happy with myself. The problem, it turns out, I decided to check the wall sizes out and as I suspected, the pieces I'm making for the landscape series are a bit too big for the alcoves. My heart isn't broken, of course. I just won't have a super deep separation of the architectural and landscape work. Oh, well. So much for trying to be thoughtful.
detail...oooooooooooooooooooo...
detail...aaaahhhhhhhhhhhhhhhhh...
The big red/crimson circle has got to be my favorite part of this piece...and I'm so pleased with myself for being able to get the color differentiation in the photo.
With the landscape series, I'm focusing on the painted surface as a shattered base for all the flying and floating elements. Compare the above and below images and you will notice that the top has a more subtle surface variation due to some fused metallic blue swirls I added close to the completion of the piece. The painted blue surface is certainly textural and graphic enough on its own, but something was missing. The fused blue swirls helped to visually integrate the bolder swirls. Without them, everything looked much too separate.
Can you see the difference in the surface? This is the "before" shot. More is better used to be my chant and I'm stickin' with it (albeit in a more subtle version...if you can call my work subtle...hmmm). See how I was trying to be a bit too gentle with the spiral-ish stitching? It worked for direction but not surface integration. Blahblahblah.
And here you will find a few shots to convey my stuffing-it-under-the-machine-arm frustration.
Anything to avoid three minutes of hand stitching, apparently.
All that cramming under the arm to stitch that little circle on. I debated for an entire cup of coffee and decided I would prefer the vicious machine work for this poor little circle.
More cramming in order to get that big, beautiful red/crimson circle sewn on. Yes, I debated between machine and hand sewing over still another cup of coffee and once again chose machine over hand. And even more caffeine.
More rolling and cramming. More coffee.
And last of all, the relaxed last little bit of the circle. Coffee. What you can't see is that I had another table that I had to keep moving around (with my foot) next to the main sewing table in order to prop up the fabric as I manipulated it. Coffee. Finally, the most relaxing, bit...making more coffee, you say...no. Ironing out the wrinkles.
