Over 10 years ago I took a workshop on the history and construction of the bojagi, traditional Korean wrapping cloths, with the popular teacher Chungie Lee. Being ‘blocks’ oriented, I really took an interest in the traditional assembly techniques used for bojagi; and indeed a great deal of the workshop time was spent on them. In recent times these textiles have enjoyed a lot of attention, as artists either duplicate them and use them as they were meant to be used, as wall art or some great backlit installations
In a fairly recent post, I mused over the difficulties of hanging sheer works, Still holding some reservations there. Referring to one of the works I made following that workshop, I realised the whole thing was technically far more complicated than it needed to be. I don’t know that I’ll make any more 100% sheer quilts, but I like the use of sheer overlays and the effects that are possible.
Today I’ve worked with sheer black over solid black, trapping bright coloured ribbons I bought several years ago in an exotic place and couldn’t work out what the heck to do with them when I got home – a common experience to foreign travelling fibre and textile enthusiasts. Those ribbons have been on my mind for a while, and a dramatic art quilt I saw about 30 years ago in Denver gallery, (no photo or catalogue) has never left my mind, becoming in one way the inspirational touchpoint for this small experimental work.