I saw this when I went to PIQF this morning:
I’ve been telling people it’s an award for not bleeding all over my work, but I think it’s actually for machine workmanship.
Awards aren’t everything. They’re a polite gesture on the part of the show, and I’m guessing the judges have just a few minutes to make a snap decision about what grabs them by the gut. Get a different judge or have the same people look at things on a different day, and somebody else would have gotten that ribbon. Maybe most of the works in the show deserve some kind of ribbon, because they have good heart and it took the creators some guts to put their work out there.
Nevertheless, this week I got lucky. I really appreciate it. I’ve been in the dumps this week, heaven only knows why. Maybe there isn’t a good reason, other than spending too much time staring into the open running sewer that’s the current presidential election campaign.
I could have gone to the show yesterday. The convention center is six miles from my house, so it’s not as though it’s an arduous drive. Instead, I stayed home and repaired the floor in one of the bathrooms, because nothing says glamour quite like crawling around by a toilet prying up wobbly floor tiles.
Anyhow, went today. Glad I did. Couldn’t stay long, because I’m nursing a mild sprain, but I managed to hobble around the show for an hour. (Bo-Nash lady, I’ll have to come back Sunday to hit you up for fusible powder. You were being nice telling the lady ahead of me all about Angelina fiber, but my ankle just hurt too damned badly to stand much longer.)
One thing I enjoy about shows is seeing how people interact with the work.
I have a couple of pieces in PIQF this year. One is the depressing, semi-apocalyptic piece on the righthand side of this photo, showing a plastic polar bear clinging to a plastic block of ice. The other is Why Knot.
Almost without exception, people tend to walk by the polar bear piece, Game Over, in favor of looking at Why Knot. That isn’t a knock on the viewers, by the way, but simply a statement of fact. Maybe the composition is just better, or maybe people relate better to children than they do to distressed polar bears who are about to drown.
Among those who look at Why Knot, there’s a group who look at it, smile, maybe study the workmanship, then move on. Then there’s the group who stop and actually read the knot names in the background. Once they do that, they’re usually stuck there for awhile. Let’s just say that I didn’t use standard knot names.
I’m not going to itemize all the work I saw at PIQF – there are plenty of other blogs that’ll do walkthroughs – but I did want to point out a few things that caught my eye.
The first is this work, whose name and creator I unfortunately didn’t record. Sunday. I’ll go find out Sunday, just before the show closes and I pick up my work, and I’ll post an update. Anyhow – lovely abstract of cheerful colors. Sucked me right in.
If memory serves, the artist is from the U.K.. That’s one of the things I appreciate about the Mancuso shows, the fact that they have a sampling of works created by people from outside the U.S.. The work is often stylistically a little different or depicts subject matter we don’t see over here, such as poppies for Anzac Day or swagmen hanging out with their faithful Blue Heelers. You see, I’m of the opinion that we don’t need walls built around the United States, either physically or metaphorically. We need to instead look outside our boundaries and wonder and learn. Most years, when I go through the entries from the World Quilt Show, I learn something that’s a little new to me, then I come home and learn a little more. Alright. End of that lecture.
This piece caught my eye, Le Chat de Mondrian by Connie Kincius Griner. It’s a nice crisp, bold piece with a good heart. I like her background stitching. There’s just enough of it, and it’s large enough to make an interesting, discernible texture without competing with the foreground imagery.
This quilt is The Three Watchers, by Kathryn Harmer Fox of South Africa. It’s a huge, monumental piece, 72 x 56”, and is all the more impressive when one takes a closer look at her stitching.
Look at that. I’m going to guess that she’s free-motion stitching on a zig-zag setting, but maybe not. However it is that she’s achieved this effect, it’s given the work a wonderful organic, painterly quality.
Here’s one of Kathy Nida’s works, Part Time Oasis. Always nice to see Kathy’s work in person. I’m going to note that it includes nudity yet, astonishingly, I didn’t see any viewers clutching at their pearls and calling news stations, or any horses getting startled and bolting. Perhaps it’s because we’re in Northern California. The place is probably lousy with aging hippies, and no doubt a few of them quilt. I think I even smelled musk or patchouli when I paid for my admission.
Yuja, by Linda Anderson. She’s done a great deal with wonderful economy. Look at the marvelous, skilled base painting she’s did, and how expressive the waves of notes cascading around the piano are. I think she won Best Wall Quilt for this, and it was well deserved.
Also, not to change the subject, what is it with people wearing thigh-high stockings with short skirts or shorts? Is this a thing now? Am I just revealing that I’ve gotten past my sell-by date because I’m unfamiliar with this custom? I ran into another example of this yesterday; I’ll post it in a minute.
Glimmer, one of Neroli Henderson’s lovely nudes. She’s done a number of photo-based nudes, printed on fabric and stitched.
Again – astonishingly – no one seemed particularly shocked or scandalized by the nudity.
True Blue Mates, by Yvonne Chapman. She’s done a very nice job on this. She’s told a story of friendship with great economy.
Look how she’s conveyed the water sort of bubbling over with the stitching she did around the rim of the billy can. That’s the kind of clever work she did throughout the piece. Oh, you say you can’t tell how nice it is because my photo kind of stinks? Alright. Come Sunday, I’ll see if I can hobble alllll the way to the back of the ballroom and get a better photo. Her workmanship deserves to be seen.
So a minute ago – or, rather, a few paragraphs ago – I was grumping about the possible trend of people pairing thigh-high stockings with short skirts. This is where I first saw it, on a picture for a 3D model of a “trendy coffee shop barista outfit.” I’m guessing “trendy coffee shop” really means “Hooters with caffeine”, but perhaps that’s just the fuddy-duddy in me speaking.
I’ve been using more readymade 3D models lately, since I’ve been cranking out book covers that use a lot of human imagery. Oh, it’s not clear what I mean by a 3D model? Um, here. Maybe this’ll help:
This is Michael 6, a Daz offering. Sadly, he has no privates. (Click the image to enlarge it, if you’d like to verify this for yourself.) He had a tragic encounter with a viewer at a quilt show in Grand Rapids, Michigan, and that put an end to his aspiration of being able to digitally urinate while standing up.
I’ve usually made my own 3D models, as with the bear for Game Over and whatnot, but sometimes it turns out to be incredibly convenient to be able to download a model of a guy and pose him like I would a real human model. This is how I crank out tawdry book covers, for example.
Alas, some of the models get a little pricey. I’ve had my eye on the Scott 6 Pro Bundle, for example, but I just can’t bring myself to puke up $135 for the guy. He’s really dishy, though.
Just look at him, holding his helmet. Oh yeah, Scott 6. You can hold my helmet any time.
Here he is patrolling a subway car for manspreaders. I feel safer knowing that Scott 6 is out there with his digital gun, ready to shoot anyone who dares to use more than his fair share of seat space.
He also moonlights doing surveillance, I guess. Ah, Scott 6. Is there anything you can’t do?
It’s sad. I think I have a crush on a 3D model. However, it could be worse. I could have a thing for Harpoon Girl, who stands around in a bikini and a pair of stylized spats, thinking wistfully about stabbing fish.