Archive for the 'Visual art/Fiber' Category

The Frog King

The Frog King

Her promise means nothing

a child crying for a lost

plaything crying

as children do coming face to

face with the world.

She would have promised anything.

An older girl

a young woman, though

the golden ball alone

a plaything

makes unlikely that possibility

might have laughed

abandoned the ball walked away


A promise is

a promise Father commands.

So he ate from her plate

drank from her cup slept

that’s what he called it

in her bed.

Now everyone says the naked

man in her bedroom is

a king, even though

the girl

the child insists he is just a frog.

6 to the 27th power

My “Foot in the Door” piece came back with a few dings. There were also some sides to the smaller cubes that I didn’t like and wanted to work on some more. It took me awhile to be more satisfied with the piece, and I still wish I had spent more time preparing the blocks before I painted them. But after working on the piece some more, I feel better about it. Each time I have finished working on the painting part of this, I then spend about 4 hours moving the blocks around trying to find the “perfect” arrangement. I don’t know what huge number 6 to the 27th power turns out to be, but I do know that the choices in arranging the blocks into the final cube is visually complex and a fascinating exercise in composition.

The block was challenging to photograph. I took a number of shots from several different angles. I think this one offers the best glimpse of what the piece actually is like. Along with others of my work, it will be in the WARM Mentor Program exhibit at Bloomington Art Center from September 3 to October 8, 2010. The opening reception is September 17 from 6-9 p.m.

New work

With the help of my daughter, I finally have been able to take photos of some of my more recent work using my digital camera. Shooting in “Raw” allowed me to eliminate the troublesome lighting I had been attempting and to correct for exposure and make other adjustments in the computer instead. This painting was completed almost 2 years ago but I had been unable to get a good image of it.

Piecing winter together with small stitches

Thinking about a proposed collaboration with another artist, I finally started a fabric collage yesterday evening. Men in Black II was on for the umpteenth time on TBS, a movie I don’t have to actually watch anymore, and it provided background noise and moderate entertainment. I sat down at my table with thin strips of old kimono silk, scraps of painted and stamped cotton, thin cotton batting and large pins with round yellow heads. I sorted, shifted, discarded, reclaimed and settled at last on a possible arrangement and, before I could over-think everything, started stitching.collage1process

It seemed logical to begin by attaching some of the more delicate pieces to one another and secure them to the batting. I began with one strand of cream silk thread to attach the edge of one silk piece to a larger one using a backstitch (my repertoire of stitches tends toward the simple). Then a long running stitch, backstitching to hold in place, leaving the ends unknotted and visible. That seemed to suggest a circle would be a good addition, so that came next, followed by dottings of brilliant gold beads.detail1

I tend to do my stitching in a rather organic way. Something I do and like suggests the next thing and so on. Usually I am working on a fabric I’ve painted with definite shapes — trees, leaves, birds, seeds — so places where I think stitching would be an asset appear fairly obvious to me. Nevertheless, it is always a slow process. Part of that is because my hands and neck tire or begin to hurt, but it is mostly because the stitches need to feel right to me. They have to really be making the piece better than it was without them, and it takes me a while to be certain that is really happening.

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