Autumn Equinox Continues . . .

These pieces were all made using the same techniques that I used for “Autumn Equinox” in the June/July issue of Quilting Arts Magazine. They are smaller (8×8), but perhaps you have found, as I have, that a small piece can be as much a challenge as a larger one! I wanted to keep playing with the leaf/sun motifs, and did so in the first 2 pieces.

Autumn Equinox 2

Autumn Equinox 3

Femme Vitale

Stelle

My Quilting Arts Article Has Hit the Stands!

I have had a wonderful few months, with my work in two shows (including a National show here in Canada) , a trip to Nancy Crow’s amazing Timber Frame Barn to take a week long course with Fran Skiles, and now my article published in issue 33 of Quilting Arts! My first peek at the cover was on the Joggles website.

Autumn Equinox

Some of my friends and acquaintances are not familiar with the quilting world, and would say “Quilting what?” when I excitedly informed them that I was to be published in my favorite magazine. “Patricia Bolton is the editor,” I said, “of this magazine and another, so I get magazines from her every month. She is the Oprah of Quilting.” I guess it all depends on your quilting stripes: some would choose other publications. But I have fallen–truly, madly and deeply–in love with mixed media and acrylic products, so Quilting Arts and Cloth, Paper, Scissors really pack an inspirational punch for me, every month of the year. I feel honored to be included in their pages!

The heart has many guises

I promised, earlier, to talk about the Skiles course, not anticipating how long it would take me to digest what I learned and translate it into my own way of working (an ongoing process, by the way). It was a paper only course–no fabric involved, but the techniques were very quilterly (the spell check is letting me know that is not a real word). The first day we ripped, cut, burned, marked, stitched on, and pieced (using sewing machines) water color paper. I found it absolutely exhilarating. It was rather hilarious, however, when you’d be sewing along, and then, with a clunk, the edge of the paper hit the end of your sewing machine’s arm and your stitching line made a little jag from the impact. Nevertheless, I discovered, to my delight, that I thoroughly enjoy sewing paper.

We then proceeded, on the following days, to produce many different kinds of collage elements on an array of papers, using the paints, inks, crayons, pastels, gessos–WHATEVER–that Fran had brought (plus our own favorites), or applying those many techniques directly onto our watercolor constructions.

The results were, in a word, stunning. The class had a warm atmosphere of support, open sharing of ideas and techniques, and such a rich variety of work as each artist brought their personal aesthetic to bear on the exercises Fran beguiled us with.

I was in heaven: full days of work with congenial colleagues; meals provided by our chef, Margaret; beautiful paths to explore on the Crow property; and a generous, gracious teacher.

Direct from my design wall, before and after shots:

Ripped, cut and sewn watercolor paper

Piece after collage, paint, stamping, etc.

What Would Take My Art to “The Next Level”?

I read something that Susie Monday, from El Cielo Studio, wrote on May 1, that has had me pondering for some days now:

What would take me to the next level in my work, without just being a “technique of the moment.” I suspect it might take me deeper into the world of precision, or sewing, or traditional quilting. I’d like something demanding and stretching, something that challenges but contributes validly to my path and work.

“Technique of the moment” is an excellent way of describing those techniques that may suit someone else, but just don’t work for you. The trick is deciphering the difference between not working, and needing time to master. Some things aren’t worth spending time on. Others deserve a lot of practice and dedication because they will, ultimately, be so worth it!

I have come to certain conclusions about this question of how to take my work to a “higher” level. It is vital to constantly hone the techniques that I have come to learn, through practice, are effective vehicles for me. But they are only vehicles–they are the means for putting my ideas, impressions, and insights into my work. So it is important that I nurture my mind and spirit. I endeavor to be clear about my intent, to practice methods that allow me to be as aware, awake, and receptive as I can. I purposefully read. I enjoy passionate dialogue. I look for the symbolic meaning in what is happening around me–in my dreams, in my encounters with others, in the world at large. And I work at trusting that what I am receiving, generating, thinking, is worthy of revealing to the world. In other words, I seek to make a habit of loving and respecting my self.

These are the kinds of steps that I believe are needed to ascend to that esteemed “next level,” or that place of greater depth, clarity, and mastery that we, as artists, yearn for our work to reflect.