Quilting Motifs -Inspiration Is Everywhere

October 7th, 2007

Top photo: one of many ceilings we saw in ancient temples and tombs in Upper Egypt, decorated with a pattern of long-armed, five-pointed stars. The stars appear on on ceilings to ensure they will be present in the Afterlife of the pharoah for whom the tomb or temple was built.
Lower photo: a free machine quilted motif of that star pattern on a recent quilt made of sheer fabrics, which I hope to have selected into SAQA Icons and Imagery Transformations ’08.
For several years I have occasionally taught a quilting class, “Quilting With Attitude” , for hand and machine quilters, the core point of the class being that inspiration for the quilting on a quilt can come from many sources. Quilting of course is the functional constructional element that holds the layers together in a quilt designed principally to warm a body on the bed. Traditionally the quilting pattern is dominated by the shapes on the top which it tends to echo or follow, and large open shapes are then filled with decorative motifs, feathers, flowers and other linear shapes. The rise of free machine quilting in the 1980’s was popularised by several teachers and writers including Harriet Hargreaves, perhaps best known of these. Using the machine in with a traditional quilt design, the aim is often to try to replicate the traditional quilting patterns. Despite the claim by some that this saves a lot of time, it has never appeared to me that the equation is equal – if the time is saved technical excellence has always appeared to have been compromised. If the impeccable technical standards that characterise most traditional quilts is achieved, it really does take about the same amount of time to include in the process properly fastened off and hidden quilting threads, anchored so that they will not unravel or pop as the quilt is used. This does not apply to decorative wall quilts of course. This need to rush quilting (‘saving time’ by machine quilting, or make a quilt in a is a day classes) is sadly a product of the fast-paced lives many Westerners lead today.
There’s a lot more to think about too, as many ‘art quilt makers’ or quilted textile artists, (myself included) produce smaller sized works for wall decoration. Despite using modern materials, dyes, printing inks and digital printing processes, and this smaller decorative format, they aren’t necessarily ‘Art’.
IMHO, a well chosen quilting motif or pattern adds another design element to a quilt and can enhance the value of the overall design; and just as easily a meaningless pattern with no connection to the quilt or one that looks merely routine, easy, a no brainer, can reduce the impact of the whole piece. One of the most popular no brainer quilting patterns around these days is the meandering or stippling, where the quilted line wanders like a little maze, or like electronic circuitry over the surface of the quilt. Now, this could also be totally appropriate to the underlying design, but as generally used, isn’t. Dijanne Cevaal recently published a book of all-over machine quilting patterns she has come up with, “Seventy Two Ways Not to Meander or Stipple – Ideas for Free Machine Quilting”, now available in english and french, in book form and cd: for ordering information follow the link on this page to her blog (Musings of a Textile Itinerant) posted October 6, 2006. A great starting point for opening the mind to the potential for machine quilting. Well, you could also do some of them by hand, too…. let’s be open minded about all this.
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The Fabled Bayeux Tapestry

October 4th, 2007

Decades ago when I became interested in the art of the stitch, embroidery, I learned of and became intrigued by the medieval stitchery known as the Bayeux Tapestry. Of course it isn’t a weaving, it is a stitched wall hanging in today’s terms, telling the story of the Norman duke William’s conquest over the English king, Harold at Hastings in 1066. As it is a textile, and from what we know of its peripatetic history, it is a miracle it has survived so long, but the exact details of who commissioned it and exactly where it was made are no longer clear. It was probably commissioned by a bishop half brother of William,and was completed by about 15 years after the event. Stitched in wool on a narrow band of linen fabric, the figures of men and animals in a cartoon-like sequence tell how the battle came about and graphically portray the preparations and aftermath. One of my favourite scenes records the presence in the skies of Halley’s Comet during April, 1066 – isti mirant – latin, presumably they are looking, stella, star. It has just occurred to me I could get an on-line translation of that and will re-write that bit if I am way out. Anyway I love the comet image, upper right hand corner.
So, on our last day in France we hopped on a train out to Bayeux and spent the greater portion of the day viewing the Tapestry and enjoying the rest of the small city of 15,000. The exhibiton gallery for the tapestry is in an old seminary building near the cathedral, and in a dimly lit almost dark gallery, the piece of work is displayed at something between hip and shoulder height, lit from behind. We used the recorded commentary devices and were just entralled. The stitches are simple, there are only 5 colours I think, and all the background is left plain. It is amazing the details that have been achieved with simple stem or outline stitch and the couching technique styled in what has become known as Bauyeux stitch. In just this scene alone, wonderful little details are included: the rays of the comet, the cobblestones underfoot, the different tiles on roofs of buildings, the upturned admiring or anxious faces -( is this a portent?) and hands pointing to the comet, there are some hair details and some of the men even sport horizontally striped stockings. It’s beautiful, it’s lively and it’s over 950 years old. Just the enormous age of this fragile thing gave me an attack of going weak at the knees. I was quite overcome with the the awsome way this textile speaks to us down the ages since it was made. I didn’t vote and I don’t know if it was on the recent list of what people voted for as a Wonder of The Modern World – but it should be up there. DH, who knew almost nothing about it before I started campaigning for going to Normandy to see it , was visibly very impressed once he understood its history and importance as a historic textile and as a record of an event that changed the then known world and its subsequent history.
I have already seen the Overlord Embroidery, a 1970’s applique work commemorating the Allies’ D-Day Landing on the beaches of Normandy in 1944. It’s now on show in a purpose built museum gallery in Portsmouth UK. The idea of course came from the Bayeux Tapestry – and it is utterly magnificent – textile enthusiasts continue to visit from all over the world, and rightly so, the whole work is charged with the emotion and memory laden images of that epic battle.
In the gift shop at Bayeux Tapestry Museum you can buy a scaled down kit of the tapestry, presumably the images are printed onto fabric and you can stitch your own – I must confess I din’t examine that too closely. Since our visit I have heard though, that a well known textile artist has the Bayeux Tapestry in her sights as her next project, I believe to scale. Leaving aside any discussion of whether this is to be ‘a copy’ or ‘a reproduction’ , and whether the many mends and patches now on the genuine article are to form part of this contemporary work – my only question is ‘What on earth is she going to do with it, and how will it be displayed without the benefit of a purpose built museum or gallery?’ I guess I am actually wondering why someone would sew a replica, even to a smaller scale the dimensions are impressive – if all it can do is sit in a cupboard and be unrolled every now and then on show? And yet, this is the exact purpose of the actual Bayeux Tapestry nearly 1000 years ago: most people were totally illiterate, and this work was to tell the story of this hugely important historic event in images that all could ‘read’ and understand, and for the first half of its life it was displayed for a couple of weeks each year in the Cathedral Notre Dame de Bayeux, and the rest of the time was rolled and stored there.
Dr. David M Wilson, writing in his book “The Bayeux Tapestry” 1985 (p.13) says in this introduction:
“During the French Revolution the tapestry had many adventures: on one occasion it was taken from the Cathedral and used as a wagon cover; it was saved in dramatic fashion by a lawyer, Lambert Leonard -Leforestier. Later it was nearly cut up to make a float (for the goddess of Reason) for a carnival. It survived, however, and in 1803 was transferred to Paris at the request of Napoleon, where it was exhibited in the museum which bore his name. This exhibition was mounted as propoganda in relation to the prepartions for the invasion of England, and as such was an enormous success, politically and artistically, but with the striking of Napoleon’s Boulogne camp and the abandonment of the invasion plans the Tapestry was returned to Bayeux.” It was stored in Bayeux and another rural town during WWII and in 1944 went into the basement at the Louvre, and after one or two temporary exhibition sites since the end of that war, it is now permanently housed in a converted seminary near the town’s Cathedral, back pretty well to where it started its journey.

Souvenirs With Meaning

October 1st, 2007

What a nice french word ‘souvenir’ is – and in spanish ‘recuerdo’ or memory.
Most of us associate souvenirs with tacky little doodads with “Made in (place being visited)” stamped or carved somewhere prominent on some object associated with the country being visited. So, for Australia than measns pretty well anything boomerang shaped, with or without a dotted surface, anything with the Sydney Opera House, Uluru, kangaroos, koalas playpuses, Vegemite… these and more are images or icons of Oz. In Egypt you have the choice of little leather camels, masses of little models of pharoahs sphinxs and prominent gods, pyramids of every size, technique and material you can imagine, metal cartouches to put on a chain around your neck and you can have your own made in about 20 minutes… all of these things say ‘Egypt’ . In Uruguay there are some wonderful souvenir thingies, including some really very nice hand made objects. Unfortunately here many are routinely spoiled by having “Made in Uruguay” or “Souvenir of Uruguay” painted or carved across them. There are little model candombe drummers, models of typical rural houses, some nice leather coin purses, sets of leather and wooden coasters with criollo designs, small table items like butter knives with bone handles – but many of them are ‘branded’ – it’s something that always bothers me. I think, that like me, people buy something to act as an aide memoire of the time spent and experiences enjoyed while visiting somewhere. I don’t think they are meant to present as proof that they were there. I am sure people would buy these things if they are not emblazoned with the name of the country/city. I have a thing about it.

As a maker of quilted textiles I always have my eye out in any direction where fabric lurks – here or abroad – you never know. In one nice little French town on our recent trip I spotted a table of bright, wildly printed fabrics, which turned out to be batik from the Congo. Most European countries had colonial involvement there and I imagine there is still trade, if these fabrics were anything to go by. In the pile I found this wonderful piece, featuring eggs chickens hens and roosters. Since the cockerel is the fauna emblem of France, an icon so to speak, although less in your face than the Eiffel Tower, and since they eat an incredible number of eggs judging by the menus we were faced with, I thought this wonderful 3 and 1/2m length of high quality batiked cotton fabric would be a good souvenir. What I will do with it is not really the point – but I will probably use it some time.

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Bathroom Award

September 19th, 2007

The prettiest bathroom I encountered on our travels was certainly this one at the temple of Ramses II at Abu Simbel, Upper Egypt, We arrived after several hours on the road, early in the morning, just as other buses in the convoy were pulling in. It was peak traffice time at all the loos. The building is a lovely modern facitility but with the usual design problem of the architect not addressing the different time needs of male and female loo users – there was chaos in the narrow corridor from which both loos opened off. There seemed to be a male and female attandant adding to this general clogup, or backup. Our guide, noting the lineup at the ladies’ managed to arrange for myself and some other waiting women to go into the near empty men’s. We politely ignored the backs of urinating males as we hurriedly washed hands and headed out, but not before I noticed that it was clean, functional and did not pong. At the end of our time there before our return journey of several hours, so like the good traveller I am, I went again, this time into the now less chaotic ladies’. Clean, fully functinonal, and even a couple of containers of room deodoriser to hand, this one showed the touch of someone dedicated to her work. Being a loo attendant is probably mostly thankless and often unpleasant I imagine. This lady shares with an attendant in the Mercado del Puerto a cheerful dispositon and pride in a well maintained facility.

During our journey we came across the full spectrum of toilets, ranging from clean, shiny, modern, spacious and ventilated to cramped, dirty, smelly, seatless, doorless, ancient, and all possible combinations of the above. On our camping trip of course, we went perched behind a rock with breathtaking views all round, but requiring balancing and digging skills. There were plenty of stones around to make a little cairn above my copralite.

We in first world countries have been spoiled by ablution arrangements, and when we encounter what we feel are appalling bathroom standards we don’t understand that the differences are more than just about cost or unavailability of toilet cleaners and brushes. From the train between Luxor and Cairo, as the dawn rose we saw several people squatting within metres of the canal and defaecating in plain public view. It’s a matter-of-factness about bodily functions which we have been raised to hide and cover up with spray-pak deodorisers. If travel doesn’t actually broaden the mind, it certainly reminds us of how unequal Life is.

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The Tentmakers

September 18th, 2007

A highlight of our trip to Egypt was going to the area of the khan where these traditional craftsmen work and sell what they and others behind the scenes sew, traditionally tents and the colourful hangings that line them. I refer you right now to the blog by Jenny Bowker, http://jennybowker.blogspot.com posting August 2nd 2007 for some fabulous examples of the work by this dwindling group of people. The largest pieces are over 2m dimensions, and they are quite used to producing works much larger too – we saw one piece being commissioned as part of a large set of hangings(99) and it was about 1.5m x 3? 4? m length.

My pictures show: UL Ashraf seated cross-legged in front of samples of what he has designed and made or had some others make – he is a caligrpaher also, a passionate one, and this shows in some of his designs he explained to us, outlining the koranic content of the design. The protection of individual or special and innovative designs is important, a number of times we were shown pieces by people holding them up with their plain backs to the street and the curious eyes of nearby compeitors. UR is a closeup of the piece in Ashraf’s quick and nimble hands. What a wonderful person to meet and talk with, as were all the people we met in this expedition which took us around just some of the stands where Jenny is clearly a popular friend. We were made very welcome and felt very priveleged. LL is a shop set up as a tent, with a young boy sewing the traditional trimmings with tent lining designs on printed fabric, and many of which will be used to decorate homes and surroundings in the current season of Ramadan. LR shows one way the hangings were/are used -as windbreaks in the desert. I took this photo on our expedition to the Western Desert, organised by Jenny and i naddition to my DH there were a couple of other Australian quilters, Gloria Loughman and Sharon Hall plus DHs, and Esterita Austin from the USA. Our Bedouin guides are setting up the resting/sitting/optional sleeping area in a U-shape formed by the vehicles, lined up against the prevailing wind. The posts on which the fabrics are mounted are unrolled, the ends put in the sand, and the lower edges have sand shovelled up over them, then the huge colourful rag rugs laid down. All done in about 10 minutes. Most of us opted to sleep out under the stars on mattresses on the sand – one or two crept back into the sheltered area during the night as the wind rose a little. I slept out all night and awoke a couple of times in the moonlight after 2-30 am – and then again to see the early dawn and watch the sun appear. At this time, too, a little desert fox, fenneq, was busily scouting our camping area to make sure nothing by way of scraps from the previous night had escaped his notice. DH took a great photo which I might post some time.

The impossible competition from printed fabrics is causing the tentmakers’ number to fall dramatically. Tourism which has not yet recognised the value of this traditional craft, clearly offers hope. Readers of Jenny’s blog know that the exhibition she took to Australia earlier this year was a smash hit, and everything sold. Their art was greated with great admiration. She is currently doing a similar trip to France (read the frustrations of obtaining customs clearance etc in her most recent post) and no doubt when she returns home later this week will get to her blog and report another huge success. Through these exhibitions and the production of the book she has in the pipeline about their work, Jenny aims to raise the level of recognition so that one day arriving visitors will ask their guides and their hotels “Where do we find the Tentmakers?” and, that hotels and guides will know where to take or to direct them, of course.

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