thelmasmith

In spite of good intentions to write weekly, I’m about ten days out.

Spent the last week in Mount Vernon, Washington.  I went to attend my son and daughter in law’s yard rave.  Wonderful music, skillfully mixed, mashed?, overlaid, and selected was provided by Berto Ross.  He got a big thumbs up from me for taking The Stones You Can’t Always Get WhatYou Want with a heavy drumming back beat from another group of artists.  Lots of good music!

Deirdre,  the mother of my beautiful grandchildren, is an artist in her own right.  I’m sure if you search the link you will find some lovely images.

My daughter, Gabrielle Windsor, was at the rave. Check out her résumé and if you can provide her with a contact, please do.

Her two nearly grown sons did not travel with her.  Check here for lots more images.  She grew up in Port Townsend, Washington, and was one of the original participants in the Great Port Townsend Bay Kinetic Sculpture Race.

The Mediocrity Award  seemed the best way to reward the artistic efforts at the beginning in 1983.  It remains today.

Enough of old memories.  The Northwest always does that to me.  I am grateful for the years I spent there.  I learned a lot.  It’s nice to visit.  I don’t need to live there any more.

Actually, I need, spiritually and psychically, to live exactly where I am, here in Ventura.  I spent the end of last year and the beginning of this year searching the Pacific coast for just the exactly right small city to live in.

That I found an apartment with an ocean view is a bonus.  I came here willingly and will, no doubt, leave the same way.   No pictures today, the iPhoto says 82 remaining to import.

OH! ! ps,   I will be offering things for sale, here, on the blog.  For the first offering:

White Homespun Barley Cloth

This is 100% cotton; each thread will remind you of kite string.  It has one inch hems on the 92″ wide ends; one selvedge and one zig zagged edge.  It is seven and one eighth yards long.

7 ₁⁄₈  yards

 This  is a spongy drapery cotton.  It is normally used hung crosswize for seamless curtains or made up into drapes.  Homespun House no longer stocks the barley cloth weave; the monks cloth is the closest match.  Barley cloth, originally twice as wide, has more depth and texture.

Contact me if you would like to buy this.  I will scan a sample next week.  I will post the image.   Remember this was originally 110 inches wide and has been washed down to eliminate the shrinkage.  Price is $110 for the whole cut.  Shipping cost (FedEx Ground) will be added.  This is quite heavy; shipping may run as high as $35.  I will charge you my cost plus the cost of the container.   I do take paypal through my website; scroll down from the link.

Sorry for the long sales ramble.  That’s what happens without preplanning.  Keep in touch.  I have a second piece of barley cloth that is similar in size; I’ll have to find the card for that one.

Kate Lenkowsky and I met at the International Quilt Study Center in Lincoln, Nebraska, in 2003. Lots of star power quilters to interview. The result is stunning.

This arrived by courier this afternoon. I have not had time to study more than the Table of Contents. The last quarter of the book, A Guide for Buyers & Collectors, is information that has never, to my knowledge, been put in one place. The information is extensive. Lenkowsky covers care, insuring and appraising as well as a long list of other topics in the guide.

Contemporary Quilt Art, An Introduction and Guide, by Kate Lenkowsky is published by
Indiana University Press. Extensive author’s commentary accompanies the large color photographs. The quality of the printing and binding are lovely. IBSN 978-0-253-35124-1

A request from an old friend sent me to the old slide master files. She remembered a commission I had done in 2002. One of the things it proves is the foolhardiness of keeping backup on Cds. If they aren’t clearly marked you will never find what you are looking for.

Since I keep images in my picture files on an external hard drive to keep the speed of my machine and I’ve changed machines since then it was a challenge. However the artist’s statements were still in the 2004 business files. TMI, I know, you didn’t need to know all that.

These images are commissions that were made in 2002 and before.  They are in private collections.  This is probably the only chance you will get to get a glimpse of them.

Preliminary sketch.

One of the images, backed by textiles that was sent to the gentleman who was handling arrangements for the commission.

The cliffs along the highway, byway, along Patagonia Creek. This is the road from Nogales, through Patagoia to Sonoita. You can see the image in the snapshot and the detail.

The far mountains were too bright; they advanced too far in the picture plain. They were covered with a printed sheer. The lines were then couched to reinforce the shaping while retaining the distance.

This is, by far, my most favorite detail of the whole work. Click the image to enlarge. There is a coatamundi in the lower left corner. The tall agave blossom tell that that particular agave has reached it’s life’s end.

The whole image, All is Right With the World. It is five feet high and eight feet long.

See all those folds in the mountains? Every one of them is a passageway for a traveler who is looking for a way to feed his family. For every traveler who gets through safely and finds a job a village of forty people stay at home, retain their own culture, and survive from the wages that one poor man sends home.

Other things to remember about the Sonoran Desert, it is the wettest, greenest desert on earth. You will see the Patagonia Creek Ford at the lower right. In reality that ford is three miles down the road. It is fed by an artesian spring up in the hills above Sonoita. It has fed this land for eons.

Water in the desert is rarely seen; it is like the force that runs the universe. Seldom seen, yet it’s effects are seen everywhere.

Now, I’ll show you an earlier commission, Desert Icons, that led to the one above.

This is the mountain range I see from my workroom windows. The mountain on the left is Mount Hopkins. It is home to the Fred Lawrence Whipple Observatory. To the right is Elephant Head. If you look closely you will see his ear and his tusks. These mountains are all volcanic remains.

My favorite detail from Desert Icons, the Harris Hawk. He is about the size of my fist and I have small hands. There are twenty one different pieces of fabric giving him life. His stick nest is appropriate as the sahuaro is the place the hawks nest. It was made by destroying a child’s toy witches broom.

The last, Painted Desert, now in a private collection in France. This piece was the original piecework of the far, rolling, valley in AIRWTW; it was much too bright. It landed in the dustbin. I finally thought, no, it’s much too beautiful to throw away. I cut it and added the brilliant red orange, turned pieces this way and that. The backing was turned in instead of binding the work.

Here is a photo of my colleague, Tanya Watanabe. Although she lives in Japan she is one of those citizens of the world.

When I come back from a trip I empty the suitcases first. I put the art supplies and the dirty laundry in their place. That’s after sleeping for about twenty hours.

Today was my day for opening the mail from the last ten days. I paid the bills and shredded all the sucker bait mail including all the blank checks with my name on them. Then I got to the large, nicely wrapped package that I knew was from Tanya. I had saved it and savored it as the reward for getting all the boring work done.

I am totally blown away ! ! ! Look at the treasure trove that came out of that small box.

I folded each in half and pinned them up over other things on the pinning wall. The two shorter ones may be – - – oh, rats, I cannot find the John Marshall book on Kimono that gives the proper names. The orange has a lovely lining.

And look at the hand painting on the sleeve. The back has a much larger hand painted mountain scene. The front has a similar painting on each side of the front.

The lavender kimono in the back of the first picture is a lovely brocade. This floral pattern is either hand painted or print in an overall design. Although it has relatively short sleeves it is a much more formal kimono as the long length indicates it is designed to be worn with an obi that will take up some of the length.

This last detail is from the middle kimono. The color in the photo does not do it justice; it is a rich café au lait with delicate, restrained hand painted motifs.

Tanya, I do not know how to thank you enough. These kimono are magnificent. There is no way I can cut them to use in textile art; they are much too gorgeous. Thank you! Thank you! Thank you!

I’ve been working on this red, matka silk, on ivory Thai silk ground a little every day. The acute, inside corners are challenging.

You can see my basting thread; it’s ivory silk so I don’t lose it on the red. I’m working with red silk thread in a size 11 straw needle.

I have no idea whether my needle work is good, bad, or indifferent. Here’s the back of the Thai silk. It is a joy to work with. The smaller sample I had made, disassembled part way, and repinned was worked with fine fuse on the acute angles; I didn’t like it. So on this big one I’m just toughing it out.

Here you have the cat covers that go on when I think I am tired enough to make mistakes.  You can see the debian test pattern on white muslin.  I laid in the “d” with an embellishing machine and black wool roving.  I doubt I will use the resulting felted letters on the quilt itself.

You can also see, in the lower left corner, my test pattern for the Debian swirl on white muslin.  I had  all sorts of plots, plans, and foolish fancies.  In the end I decided the best thing to do was to take up a needle and thread it.

The textile arts are a varied lot. They show up in the most unexpected places. The image below is copyright by two entities and the artist; it is published here according to the fair use for educational purposes section of that law.

Notice that Untitled, by Joyce Melander-Dayton, is of acrylic, cotton, wool and beads on linen. The very definition of textile art. This advertizing popped up on page nine, more or less, of the May 2007 issue of art & antiques. Copyrights are held by Melander-Dayton, the June Kelly Gallery in New York City, and by arts & antiques.

I like the fact that textiles are popping up in unexpected places. These places that are geographically removed. Those of us who practice the textile arts should be an encouraged.

I read arts & antiques monthly; quite honestly it’s more wallowing in the luscious glossy printing of high quality photographs. This magazine gives me a window on all sorts of visual art from many centuries. I find it is a very pleasant way to add to my knowledge. I see things I would never see in a venue restricted to textiles. I think that is important.

I finally cleared off the rest of the detritus from the six foot long work table that has my Juki set flush into the top. I’m looking for a 1960s vintage, sturdy, typing table with locking wheels. I need a task specific table for the Pfaff Smart 350. It’s a needle felt machine that is newly in the marketplace. Until today my only experiments were to darn my wool socks.

I decided to do some experiments. Yesterday I had torn eight inch widths of muslin, cotton flannel, cotton sateen, and a fairly heavy silk.  I decided to work both with hand dyed wool roving and with scraps of red matka silk. Here’s the sample with the cotton sateen face.

There is red-orange, black and a purple brown wool needle punched both as cobweb felt and as disciplined, controlled lines. The red matka silk was manipulated in the middle swath and just needle punched on the lower right. The dupioni silk was a scrap; half of it had fuseable web on the back.

The three layers took the felting well. I think if I decide how and when and were I’ll do this sort of work with a design rather than random testing I will either lay the face fabric on the flannel or just felt on the base fabric. The needle punch holes are quite apparent.

Here is the sample I laid up with a muslin base, cotton flannel, and a heavy silk.

Same materials, handle slightly differently. The purple silk ravelings took the punching nicely although they drew up a lot shorter than they started. Do click on the thumbnails as the needles I am using are too coarse and have damaged the fairly tightly woven silk face. I am in the process of ordering some size 42 triangular needles. I suppose while I am at it I should inquire about size 44, too. Back is as boring as the front.

I’m encouraged. Even though I damaged the silk sample the process shows a lot of hope. I’m particularly interested in the cobweb silk. If I can solve the fineness aspects of the needles I have some lovely space dyed roving here.

There is still almost the full width of the samples I made up. So I’ll lay them on top of the wool box. That way maybe I’ll be able to find them when I have more experiments in mind.

As an afterthought – here’s the task specific modification of an old typing table that holds the Bernina. It’s particularly useful as it’s the same height as all my card tables. I can extend it to side or back simply by wheeling it out away from the wall.

I’ve been spending the day procrastinating. I’m also processing a lot of personal information. Here are a few of the non coincidental coincidences I’ve experienced today.

Baba Yaga stands in my kitchen. She over sees my cooking. If I have eastern European genes I am not aware of them. However, here is a story of Yaga.

Do go to the top of that page after reading all about the ancient goddess. Then, take a look at what happens when you take an ancient goddess and put her in charge of a Sonoran kitchen.

Here she is supervising a quesadilla.

More importantly, go take a look at Yaga’s fabrics and designer clothing.

Today I’m basting the turn under on the Debian spiral. About one third done I decided to sit down and take a break. I thought that I could sit in my easy chair and do this task. UM. no.

I’m standing at the ironing board with surgical tweezers, a pressing cloth to make sure the fusible reinforcements do not get on the iron, scissors, ivory silk thread and a number eleven straw needle. The trifocals go on and off depending on the demands on my vision.

A close up of the inside and outside corners.

Then a look at Mr. Lincoln and Peace. Early spring mornings in Sonora are the best.

I’ve been telling my friend and website administrator, the Spider, that I would make use of the debian logo he sent me more than a year ago. Debian is the open source software that is the basis for Ubuntu, and myriad other open source software systems. Here is the logo as I received it.

The smaller of two enlargements, getting parallel lines marked so that straight of grain can be maintained. There is one almost twice as large that will go on an ivory background and will have the debian of the logo added at the bottom to balance the design.

The red silk for the logo, itself, fresh from the washer and dryer.

The silk in a macro image. It appears to be hand spun and hand loomed but I do not know if that is true. Look at the interesting weave that shows before ironing. As I got it ironed I let it flow into my old leather armchair. Next time I looked that way Little Smoke Cat had made herself at home. I hung the silk on the coat hook on the workroom door.

The beginnings of placing the image on the batted quilt ground prior to beginning appliqué.

The placement of the mirror image, freezer paper, pattern on the ironed silk.

The rough cut pattern adhered to the silk. The pattern is mirror image and on the back.

The right side of the silk logo. It is still rough cut with the freezer paper on the back.

The pattern with almost all the freezer paper cut away. Bridges of paper remain to hold detached bits of silk to appliqué in place.

This is the point where I need to turn the extra under. In fact it will be pressed over the back of the freezer paper in as many places as possible. The silk is prone to raveling. It is too late this afternoon for me to decide whether to add fine fuse to the points and sharp turns to help control the raveling.

FineFuse is a tool that is a mixed blessing. It is probably the softest of the synthetic fuseables and no longer on the market. As soft as it is I question whether I want to use it with a fine straw needle and silk thread. So, I’m shipping this blog and thinking the situation over.