A few days ago I made and published this audition sample with a view to a new work featuring strips of stripes made up of the thousand or so small scraps and snippets from several projects in the blue-green colour range, including last year’s SAQA Benefit Auction quilt.

Working this very improvisational way, it’s not logistically possible to cut each snippet individually – it’s like prepping veggies – you do a whole lot at once and then get to work using them. Late last year I scored a heap of luscious hand dyed offcuts from fellow art quilter, Lorraine, so there were many blue-green bits to put together here. Once I’d posted it, I noticed how the short row, of darker fabrics oversewn in black and grey, really receded towards the back, compared with the strips of lighter brighter colours that appeared to be closer. Well, of course I knew this bit of theory, but seeing it reminded me that this is something I can exploit in my next composition.

Lots of machine stitching later, I have a collection of groups of strips of the green-blue and green-yellow groupings, ranging in depth, but length of about 5″, that I’ll cut into wavy lines and stitch down with black thread into a grid outlined on black fabric:

I just finished the work I’ve been writing about, and for the moment, at least, calling it “Odds and Ends”. I commenced it at the start of the current SAQA 100 Days challenge in progress, now just over half way through. I haven’t been posting every day, as I felt there was no point in posting essentially repetitive images every single day! For me, that was a bit different from the previous 100 day one, about 18months ago, in which I did a small sample every day

There’s enough of the binding showing in the above pic to see that the border is segmented, several strips at a time joined into the dark grey-brown background fabric. I machine sewed the binding strip to the back, then folded it over to the front, hand hand stitching it down in the same way as I covered all the other edges in the quilt.

My regular readers know that even before a work is finished I am already thinking ahead a bit about the next – and this following sample completed today is part of that process:

Here, I’ve auditioned 4 fabrics from cream/unbleached calico, through light grey (with a touch of mauve) the dark grey/brown I used in Odds and Ends, and black. I cut wavy strips from the same sets of scraps in predominantly greens+blues, and auditioned silver, neon green, neon yellow, black and grey threads. I thought I’d prefer the sliver which isn’t exciting enough (I don’t think I’ll use gold in this case) but I really like the black (polyester sewing machine thread) against the black fabric, and grey thread against the grey. Another multi-audition coming soon.

In the last few years we’ve seen an incredible expansion of interest in hand stitch, especially with the Slow Stitch movement with attendant features of mindfulness, torn fabrics applied using running stitch, straight stitch or pattern darning, the embrace of meditation, and so on. As a hand stitcher, aka embroiderer, from the 70s, this is a development I’ve welcomed. I’ve never ‘abandoned’ hand stitch and hand quilting, but in the past 5-6 years hand stitch has become a much more significant feature of my own surface designs. The Glorious Straight Stitch, as I term it, has always been a favourite, and during the pandemic, having all the time in the world at home, I found myself truly calmed by simple hand stitching, listening as I always have done when making, to recorded books and more recently, podcasts.

One of the questions in my previous post, was about the kind of edging I needed for this work. I didn’t think either of my favourites, fine binding or facing, were just right. I felt they were just too neat for this raw edged hand stitched style, which continues the line of several raw edge applique works I’ve made and shown in the last few years. It was the border treatment I worked on this next work, Caribbean Crush, that gave me the solution:

I needed to construct a segmented binding, which was easy enough given that I had various groups of pieced strips partly used. I added bits of them into a long strip of the background fabric, avoiding joins at the corners; sewed this to the back of the quilt, folded it forward and hand stitched the raw edge down onto the front of the work, in the manner of all the other applique on this quilt.

I love improvised, machine pieced patchwork, but without any planning for this to happen, raw edge applique has taken a major position in my recent body of work, and I haven’t planned anything pieced for ages! Below are some examples: clockwise from upper left – Pandemic Pattern, 2020, detail; “Make Do And Mend” banner 18″ x 24″ for Lift The Sky project ww.liftthesky.com ; Regeneration 2, 40cm x 40cm, 2019.