Archive for the ‘General’ Category

Mark Making And Mending

Tuesday, March 27th, 2018

On textile artist Maeve Coulter’s textile art page is a brief paragraph on her techniques, another on the themes and ideas in her art, plus this single line: “I was raised in a household where fabric was revered, rescued and reused.”  This comment is a common thread running through statements by many textile artists, fabric artists, art quilters, whatever each of us calls ourselves.  The presence of fabric or cloth in our lives is acknowledged, and we tend to revere it at some level for its importance from cradle to grave. It’s frequently expressed in terms of saving, rescuing, repurposing, upcycling, reusing and recycling garments and other cloth items.  The western world has lost a lot of the ‘make do and mend’ concept, and our garbage tips and landfills bulge as  huge environmental problem grows daily.

I’m a classic Baby Boomer, and all the mothers of other kids I knew used fabrics carefully, sewing garments with generous seam and hem allowances that allowed them to be handed down and along to other families where they could be taken up, let out, lengthened or shortened.   For a garment to successfully endure all these phases, the fabric needed to be the best quality  possible, and in home sewing for kids especially it has always been false economy to go for cheap fabric.  Our mothers were stay at home mums, as even though they might have worked during the men’s absence fighting WWII, most of those jobs were handed back to men as they returned home.  Clothes rationing lasted in Australia until the early 50s, so our mothers had the motivation and the time to invest in the whole process of sewing, mending and repurposing fabric things.  Plus they mended things to make them last longer.

Straight stitches commonly feature in mending – for example a 3-corner tear

I’ve noticed artists who can claim their work uses all recycled materials enjoy a subtle extra merit, eco brownie points, making the work somehow more worthy because only recycled materials were used.  Google “recycled clothes” for example, you’ll find many pics of inspiring projects from recycled materials, it’s big business.  I guess I might be part way there, as I don’t cut into new fabric if I have suitable coloured/printed/textured scraps or offcuts I can use in my improvisational constructions.  Occasionally I cut up an old garment, but I tend to give away intact clothes I’ve worn a lot or outgrown that still have some use in them.  To go all the way would be to scour op shops and markets, but, to be honest, I have no inclination to regularly do those rounds or hoard bundles of fabrics from used clothes.  I have a close friend who acquires mended fabric whatevers by various means – clothes, sheets, blankets, you name it, she has it somewhere.  The interior of her house has all this wonderful fabric stuff, much of it backed by interesting stories, but you can barely find a place to sit down.  I just do not want to get on that bandwagon  🙂

 

Element of Intermittency

Sunday, March 25th, 2018

Though there does not seem to be such a word, there should be, and it would be built from intermittent the same way that the word intimate gives rise to intimacy.  (I’ve just become hooked by Scrabble online, I’m a bit word conscious anyway but constantly amazed by what is and is not allowed as a word.)   In a few years’ time maybe you’ll look back and say you read it first right here on Alison’s blog; but regardless, I’m hereby declaring intermittency to be an element of discontinuity between lines and shapes in my Ebb&Flow works, the statement for which is “Series Concept – Nothing stays the same for ever.  With age, we recognise and understand the ebb and flow of people, places and fortune throughout our lives.”

I’ve been exploring this theme for over a decade. Mostly I deliberately construct the intermittencies; sometimes they’re accidental or seem so.  Beautiful shapes stop suddenly, perhaps connected by lines of stitching to where they resume elsewhere in the work, but they can also remain totally unconnected to anything.  Doesn’t Life itself have patches of that same thing, of intermittency, of abrupt discontinuity as various features of Life come and go, ebb and flow?  No, not your own life?  Well mine has certainly been characterised by serial intermittencies in the geographical and cultural senses.  We’ve had many moves, and the 12 years in this house is the longest time I’ve lived anywhere in my entire life.

Jottings And Inspirations

Saturday, March 17th, 2018

I opened an almost-forgotten folder today, which led me down memory lane for a while, skimming through some writings by various members of a writer’s group I belonged to here some years ago.  I found fictional and autobiographical stories, and some poems including a couple of prayers; there was even a ‘Chapter 2’ of a book someone was apparently writing though I doubt it was ever completed, and there was no name on it.

Wanting to improve our writing skills, Pamela, Gerry, Mutt, Bertha, Sonya, Doris and I met regularly to discuss and critique material we’d each worked on in the preceding fortnight.  Among other things, Gerry Fairless (dec.) wrote An Appreciation in 2002 about our group which includes the following lines:  “A common aim – the urge to write/Brings us together, to excite/Each other and ourselves of  course/With our creative talent and resource.” Not brilliant perhaps, but certainly heartfelt.

One of the writings I re-read today was a poem by the late Mutt Gordon Fearing expressing her gratitude on having the gift of being able to paint.  It reminded me to stand in front of this little watercolour of hers that I pass by every day and love – “Thank you Lord for such a gift/May love of nature never cease./And whoever owns my works/Can feel in them your joy and peace.”

Watercolour Still Life, by Montevideo artist, Mutt Gordon Firing (dec.)

I have several of her watercolours, as I have always loved that medium.  Indeed, the first piece of art I ever bought was a landscape in watercolours when I was about 8 years of age.

And what  did I write and put forward to this group?  At that time I was writing short pieces for our children on early memories of my  own life, so they might understand the kind of mother they have 😉 and other articles on some of our family adventures and travels that included them.  I have been thinking I need to do more in this vein, and the grandkids, aged 15-21, are now old enough to be on the distribution list, too.  I’ve been a bit distracted from this purpose but feel ready to re-focus, and I’m no longer needing to write the great Australian novel – for me, I think short stories may be more ‘me’.

On what was apparently my first day as a member of the group, I asked the girls to critique a workshop description I was submitting to a conference organiser.  I sent it out by email to each member and each member came to the meeting with their comments on their printout.  My written introduction included “…but first, I need to come up with a snappy title: any of these?  I work a lot with lists for names of quilts, articles designs and so on, listing everything, serious or trivial, and letting them eliminate themselves one by one.”    I still use this method to come up with titles. Some of my better ideas included:

  • Scrap Quilts for Everyone,
  • New Fashioned Scrap Quilts,
  • Scraps of Skill (Required)
  • New Lives For Old Scraps
  • Tomorrow’s Traditions Today,
  • Cuttings From The Sewing Room Floor,
  • Today’s Scraps Tomorrow’s Heirlooms,
  • Scraps of Quality
  • Skillful Scraps,
  • Old Scraps New Quilts
  • Say It With Scraps,
  • Conceptual Scraps,
  • and I finally chose Hot Quilts From Cold Scraps, a workshop I have successfully taught many times now.

New Directions, 2000,  96cm  x  84cm

It was doubly pleasant to share some of these blasts from the past with former member Doris MacGibbon, who just happens to be visiting from New Zealand this week and staying here with her husband.  We’re all having a ball, talking all the time of course and covering so much ground  face to face 🙂

My Three ‘First’ Quilts

Sunday, March 11th, 2018

I am not going to go into the complicated detail of this claim though – it’s long and complicated; I just want to post the link to this post on FB, which for some reason tonight doesn’t seem to want to allow me to post all three to illustrate the point I’m making in an exchange there 🙂

Distant Shores 1987

First Day on The Slopes  1988

 

 

Ancient Expressions 1  1988

 

 

 

Try Improvisational or Freehand Piecing!

Thursday, March 8th, 2018

I’ve written before about freehand pieced work, including this article working from the scrap bag    This morning, looking around in my photos for something else, I was diverted by a sequence of photos I took last year while making this small piece for my friend Suzie.  I formed this collage to take some of mystery out of this kind of piecing known as ‘improvisational piecing’.  It’s a construction technique widely used by makers of ‘art quilts’ and Modern Quilts, too.

Suzie’s Quilt 30cm x 30cm.
Top left, centre and lower right – cut and remove an approx 1-2cm swathe.  Lower left – finished quilt; upper right shows pencil diagram and a strip insert pinned into place.  The tighter the curve, the more pins I use – just my way – there’s no ‘correct’ way.

Do a very basic pencil diagram if necessary (upper right),  audition some fabrics, start cutting and begin sewing.  No templates, no exacting measurements, and the result is a very organic look.  Improvisational piecing begins with simple steps, and the basics can be found here   If you want to try it at home sometime, thoroughly read through my 2 page notes first, then follow the easy instructions.  If you need any help or advice, don’t hesitate to contact me at alison@alisonschwabe.com

Working without pattern pieces is very liberating; it’s a worry-free way to construct quilt tops.  In my Memories and Ebb&Flow  galleries you’ll find many examples of works pieced this way; and I often use freehand piecing with grids constructed using rulers and different size quilters’ squares and triangles.  Honestly, anything goes, as it’s up to you how you use this technique.  By all means, pay good money and go to a workshop run by someone teaching this technique, which is fun, but if geographical isolation or financial challenges get in your way, you really can learn it by yourself at home.  You’ll find it in books and magazines, as well as online, but I don’t advise starting out by watching online demos. There are so many out there with different emphases, often by people more focused on selling you their book, that you may well become confused in a very short time.   I just looked at some, and found them all rather fussy, very precise and careful.  This is not what it’s about – it’s carefree, organic looking and meant to be very non-traditional in every way.  Using my basic illustrated notes, try working through the suggested few samples, while remembering that

  1. there is no correct way to do this kind of patchwork
  2. the only correct result is a flat one
  3. start out bigger than you want to end up
  4. resist the urges to trim as you go – save it till all piecing is done.

Feel free to use pins, marker pen or pencil reference points right on the cut edges which will be enclosed in the seam anyway  – use whatever you find that works for you.  When you’ve worked out how to do it and can repeat good results with practice, then if you will, spend a bit of time browsing some demos, but I think you’ll find you don’t need them.  Improvisational piecing has become a contemporary tradition, something to be shared in the time honoured way that traditions are passed along from one generation to the next.  So, what are you waiting for?

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