Whee! Look what the letter carrier angrily hurled on my doorstep! It’s the 2016 edition of IQF Quilt Scene! That means one of my quilts must be inside. That means I must rapidly thumb through looking for it – with great care, though, so as to not wrinkle the magazine. I want the magazine to look nice and crisp so that I can leave it out on the table and nonchalantly lure people over to look at it.
Here we go – page 75, deep in the bowels of the Special Exhibits section. The title of this piece is Leaving Home: Launch of the Apollo 8. It’s one of a collection of art quilts in the Fly Me to the Moon exhibit, commemorating the 50th anniversary of the Apollo 11 spaceflight and humans’ first steps on the moon. That exhibit will be debuting at IQF Houston soon.
My particular piece commemorates the moment when Frank Borman, James Lovell, and William Anders first blasted away from the Earth and headed toward the moon. They orbited the moon ten times, then returned to the Earth. Although they didn’t get to land on the moon, they were the first to make this particular trip; their mission was important in terms of demonstrating its viability.
The piece was executed in watercolor on soy-sized cotton, then stitched. I wanted to evoke something of the spirit of the works of Ando Hiroshige.
This is only one of the pieces in the exhibit, of course. There are, I think, 176 pieces total in the collection, a portion of which will be at IQF. They have a diverse range of treatments ranging from the literal, to pop culture, to folk art.
One can see a few more in the friends@Festival eZine, a publication of Quilts, Inc. The article is also well worth reading for its interview with Susanne Miller Jones, the person who thought of the exhibit and has driven it.
Also debuting at IQF Houston: Odalisque with Squeak Toy, seen below. It’s supposed to be in the digital art category, so do say hello to it if you’re in the area.
Alas, I suspect it’s another of my pieces that no one will really “get”, at least in terms of understanding how the surface design was executed. On some level, that’s okay. People don’t necessarily have to understand how something was created in order to interact with it, like it, or dislike it. On the other hand, people often are curious about that sort of thing.
It also involved simulating the fall of the cloth throw that’s at the end of the chaise, “dropping” it and having my computer figure out what that would look like.
Game Over involved similar activities, such as modeling the polar bear and the water it’s floating in:
When I recently received a judging sheet for Game Over, there were comments about thread tension and binding. This is standard for work I create, unless it wins an award, so I am sure that the sheet for Odalisque will have similar comments.
Here is how I feel after I’ve spent countless hours on a piece and I get back comments which totally disregard the surface design and whether the stitching compliments it, in favor of issues which are difficult to see except from the back:
Moving on … just finished this piece, Chaos Contained. It won’t be going to any shows, so get your fill of it here.
I made it from a variety of bits and scraps, such as fabric and yarn tidbits. The stitching is eccentric and messy, and would utterly horrify the people who congregate at quilt shows and run their ungloved hands over the backs of display pieces.
(Click image to embiggen.)
I like it, though. Good enough.