Shelter is completed

My work is done on "Shelter." (For the origin of this quilt, click here; for all related posts, click on "shelter" in the list of labels on the lower right side of the blog page. Double-click on the above and other photos for a clearer, enlarged photo.) "How do I feel, now that it's completed?" two good friends have asked. One of these friends, Mary Beth Clark, did a series of quilts about the loss of her mother, who had died more than 40 years previously, when Mary Beth was eight years old. (For one of those quilts, "The Last Squeeze," click here and scroll down to Episode 39.) "Does is make it any easier, having done these quilts?" I asked her several years ago, wanting to hear "yes" as an answer. "No," she said. So, how do I feel? I feel a sense of satisfaction that the piece is done. It is the most challenging piece I have done in terms of design decisions and construction techniques. The importance of the quilt to me in terms of its meaning is what gave me the steadfastness to persist through the difficulties, to undo and rework when I could see that something wasn't quite right. With this quilt done--with this hope expressed for the sheltering of our son--I can continue on with work on other ideas lined up, other aspects of my grief and loss. Will that line-up ever be at an end? I don't know. I think I hope not. Designing and making these quilts keeps Jeremy present in my heart, in my mind.

As I worked on "Shelter," I also worked on a talk, aimed at an audience of my faculty colleagues at Knox College, a talk about the central place scholarship had in my life for over three decades, and how my live has turned from scholarship to the making of art since Jeremy's death. The center section of this talk is taken from an earlier presentation about quilting, done in 2005, but this new version brings in my scholarship, and also shows the progression of quilts since 2005. I've put the talk into a web version, so that others can read it too: "From Study to Studio: Meaning and Motivation in Scholarship and Art." It was interesting to me to see how much I figured out about the quilts in the process of writing the talk, in particular, that "Loss" and "Shelter" are closely related through their color palette, as are "Pine Grove" and "Landscape." It seems unlikely that I wouldn't have realized this as I designed them, or at least when I worked on them, but I didn't. Since the talk, I've thought further about the palettes and their meanings. In "Loss" and "Shelter," the inclusion of the very strong complementary colors of orange and blue contributes a kind of vibration that refers to the vibrancy of life--life lost, and life hoped for. In contrast, the analogous palette used for pinegrove/landscape with its much lower level of contrast is fundamentally "quiet" and represents the refuge I need from the loss. So maybe one of the deep attractions of quilting is this immersion in color, which has such a direct link with emotions--even if I'm not thinking about it explicitly while we design/sew.

Here are some detailed shots from "Shelter." Color variations are due to different attempts to get the color correct. The full view of the quilt above probably is the best representation of the colors. Details of stitching are best seen with double-clicks on the shots below. The quilt top was done with a combination of machine piecing and hand-appliqué. The quilting was all machine-stitched in the ditch. Some photos show the appliquéd join between the tiers of color.

Most of the fabrics are commercial batiks, but there are also quite a few silks and the occasional piece that I painted or dyed myself.
In the turquoise, blue, and red-orange sections, the complexity of texture is created through variation in value (dark/light) and to some extent by hue (e.g. turquoise/green). In the black section, that didn't work, as mixing in a lot of gray diluted the sense of "blackness" that was important to the me. I used some batiks that had an element of blue or green, but to get more variation I needed to move to texture: velvet, satin, brocades.

At the end of a conversation with the new rabbi at our congregation, during which my husband and I talked with him about our lives in the wake of Jeremy's death, I asked, "Is there a prayer for someone with a broken heart." He replied, "The Hasidic Rabbi Menachem Mendel said, 'There is nothing more whole than a broken heart.'"

May Jeremy find shelter in the open arms of all who loved him.

Quilting Shelter

I've been working on quilting "Shelter" for about a week now. (Click on the image for a closer-up view.) I want to highlight the complexity of the piecing/applique as it is, rather than add more complexity through the stitching, so I am quilting entirely with in-the-ditch quilting. For the non-quilters reading my blog, this means very careful stitching directly in the seam line. If done precisely, the stitching is almost invisible, as it sinks into the "ditch" of the seam. It's a kind of quilting easier done by hand than by machine, but hand-quilting is not an option for me right now because of the pain and numbness I've had in my hand. (I've gotten a good deal of relief from several weeks of occupational therapy, but I still need to be careful.) So, I'm doing the quilting by machine, which means very slow, careful following of lines. It needs every ounce of my attention--I found that I couldn't even have quiet piano music on at the same time. It feels like a kind of prayer. Given that the inspiration for the quilt was itself a prayer, this is a welcome experience. (Here's a post that describes the origin of the quilt.) This method of quilting is also giving me an extended stretch of time to spend very close up to the texture of the quilt, which I'm happy for. It will be hard to let it go.

I was worried that I would have difficulty where each tier met--that the quilt might pucker up at those three large seams as I sewed the seams interior in each tier. But I pin-basted very carefully and closely, and have sewn the large seams first, then doing the interior seams throughout each tier (about 3" apart). No puckering! My thanks to master quilter Jean Lohmar, who helped me think through the quilting.

Sample of machine quilting

I've finished all the remaining applique on the four tiers of "Shelter." Even though I tried to pace myself, doing all this applique was stressful on my wrist, and I've developed a ganglion cyst. So, I need to find a way to machine quilt this piece rather than hand-quilting, which would be even more stressful on my wrist than applique. On the small sample piece above, I've quilted every other strip with "in the ditch" quilting (which runs right up against the seam-line). I think this is good--maybe even better in final appearance than hand-quilting. You can't see it unless you look extremely closely, and it will give a more flat texture than hand-quilting would. I did a row of top-stitching also, just to see how it would look. If you click on the photo above to enlarge, you can see it on the middle strip in the turquoise tier. Top-stitching is easier to do than ditch-stitching, but it would add another visible line, which I don't want here.

I recently ordered some Japanese Daiwabo fabric. I think it is a possibility for background fabric for appliquéed stones. On some pieces, I've used linen, which gives a nice contrast of texture, but the local fabric store just has one color.
I also ordered some plain white linen to dye; if that works, I'd have a wide range of choice possible.

One summer project is to get back to fabric dyeing. I've cleared a table and taken out my notes. This week I hope to figure out the basic routine again and get started.

Back to Shelter

I put in a lot of work on "Shelter" in the winter and spring, to get to the point where I could roughly join the four tiers and show the quilt as part of the talk I gave in late April on "From Study to Studio: Meaning and Motivation in Scholarship and Art." (Here's a post where you can see what it looked like then, and where I explain problems that remained.) After the talk, I needed a break from the quilt. I also knew that I would be getting together in early June with quilting friends from the Chicago area, and that they could help me think through the problems. And they did! With their help I made a decision about what to do with the bottom right corner, and they also pointed out a couple of areas in the piecing that could use some adjusting.

Having spent some time clearing out the studio, and doing the easy-piecing of the four-patch posie quilt, I finally felt ready last week to put "Shelter" back up on the design wall. I pieced some additional orange-red to fix the bottom-right corner, fixed the piecing spots, and am now doing the final hand appliqué (photo above shows a basted part that I am now sewing down). I have some of the turquoise section, most of the black section, and the small added orange-red section still to go (the rest was completed before). This is my favorite part of the process, as I get to sit quietly with the colors.

The challenges remaining will be: 1) final joining of the four tiers (though I have some confidence on this, having done the rough join before my talk) and 2) quilting. I've purchased a low-loft ("Request") cotton batting. Quilting will be minimal--just enough to hold the layers together and to add depth to the piece. It would be easier to machine-quilt, as there is a layer of interfacing/stabilizer throughout the quilt, as well as multiple layers of fabric in many places. But my feelings about the quilt lead me to hand-quilting. My plan is to begin with hand-quilting, but if it is just too difficult, to fall back on machine-quilting. (I considered hand-tieing the quilt, but I think that would be the wrong look, even with the ties on the back.)

Shelter basted up

The pressure was on to get the four tiers of "Shelter" put together in time for the talk I gave on Friday, "Study to Studio: Meaning and Motivation in Scholarship and Art." Here they are, roughly basted and pinned together, and the 4 edges also just basted under. (This is the top only.) Things that still need thinking about:

• the exact curves of the big joins--this is the easiest thing to fix up;
• the grey fabric worked into the black--this may need to go, also not hard to fix;
• the bottom right corner--big design flaw. Why did I make the black tier span both bottom and right edges? I think I did it to lessen reference to a kind of rainbow. But I did the final drawing in pencil only, on white paper. I didn't do a small final maquette with fabrics based on that drawing. Sigh. This will be more difficult to fix. I could do a quick fix by folding in the right side about 8 inches:
  

But this results in a vertical composition, not what I had in mind, and the shape of the black tier is too uniform. I think I will probably have to re-work the tiers to get to a composition where the black tier ends only on the bottom. I'm going to put this aside until June, when I'm getting together with my Design Camp friends in Chicago for a day of talking about our work in progress. I know I will get helpful feedback then. And putting it away for a while will help me see things more clearly myself.

A new foray: here are beginning sketches and some paper trials for another project, combining some old ideas I've had "in storage" with new ideas and methods from the drawing class I'm taking.

Next I'll do some trials with various sizes/colors/techniques, moving into fabric.

Shelter, a class, some writing, a workshop

While I work on constructing the black tier of shelter, I'm also doing some hand-sewing on the other tiers, doing final stitching and taking out basting. I've enjoyed looking at these pieces up close again as I sew.
And here's the black in progress. It's coming along quite well.

Progress is a little slowed by the start of a new term of teaching, with some other things on my plate as well. I'm taking a drawing class at the college, one that focuses on the legacy of minimalist, abstract drawing (like Eva Hesse, Agnes Martin, Sol Lewitt) rather than representational, figural drawing. I love these artists, and I think this kind of drawing will help my development in quilting. We'll see.

I'm also working on a presentation I'll be giving at the college in late April, "From Study to Studio," describing/explaining my turn from scholarship to art. I've talked about this to an audience of quilters before, but not to my colleagues at the college.

In June I'll be attending a workshop by Terry Jarrard-Dimond, "What If? Building Pathways to Creative Work." This is being offered at a new workshop venue in Ann Arbor, Michigan, modeled on the structure of workshops at Nancy Crow's Barn, but one day shorter (so a little less expensive), and with a greater variety of types of workshops: http://www.buddingartideas.com/workshops.html. There are a number of fiber arts workshops (including a Susan Shie workshop in October on “Diary Quilt Paintings" that I wish I could go to). There are also watercolor, pastel, oil, encaustic, and other things being taught. Anyway, you might take a look--they've asked participants to spread the word, to help them fill this inaugural set of workshops.

A compromise solution

Three commenters on the last post told me that the value range in the turquoise looked fine to them--very helpful to have this feedback, which leads me to a compromise plan. I've pinned turquoise strips up over some of the darker teal/green strips, but not over all of them. This looks like the right direction to me. A big relief. This gives me the energy to finish up the piecing and sewing of the black tier, and then I'll go back to re-work the turquoise a bit.

A new problem with Shelter

I've strip-pieced most of the black strata needed, and stuck them up on the design wall, pinning the other tiers in place so I could get a glimpse of the whole. The little tags on the turquoise are marking spots I was planning on altering. But now I see a larger problem. The turquoise tier has a much wider range of value than any of the others, and I don't think that works. I think I'll need to revise more deeply, taking out/covering up the dark teals. Of course I could go the other direction--add more value range in the other tiers. But I think a smaller range is more in keeping with my vision of the piece--and adding a wider range for black isn't possible in any case.

I want to feel closer to the finish line with this piece. . . Instead of getting easier as I go, the challenges keep adding up. I have to keep the mantra of "persistence" in mind.

Time for Black

I've finished piecing and basting the orange-red tier of "Shelter" (photo at end of post), and am now moving on to the final tier of black. Each tier has posed new challenges--up to this point all issues of construction and piecing. For the black tier, the challenge is in color/value. The blue, turquoise, and orange-red tiers have used variation in value (and to some extent in color) for contrast within the piecing. But lighter values of black would bring in gray, and I don't think that belongs. So I'm going to try variations in texture, variations in color (blue/black, brown/black), and a very little bit of variation in value to dark gray. The very dark black in the photo above is velvet, which I got for texture, but it also does value. In the photo below, you can see a bit of the brownish and bluish batiks as well; for some reason everything except the thin bit of velvet looks gray here, but they are black in real life.

And here's a shot of the orange-red tier, with one strata of blacks up against it for a glimpse of what is to come:

Trial and error

I'm not 100% satisfied with how I've done the finish of the strata that end mid-tier. In the turquoise section, I used a "blunt" finish, slightly curved, which you can see in the left third of the turquoise section above. I've tried something else in the orange-red tier. One finish, about a third of the way in from the left, is slightly "stepped" rather than curved; hard to see in the photo above, a bit more visible below. A second is done with a series of points, readily seen below, towards the right edge of the photo.

I was excited to try these other methods, but, in the end, I think I like the blunt end better.

Shelter--a preview of the whole

Blue and turquoise tiers are pieced and basted. Strata for orange/red are pieced and pinned on the design wall--more manipulation of the pieces to be done to break up the lines. Black is just one piece of fabric put up for the color--piecing of many blacks into strata still to be done. The black tier will be larger than it appears here and the orange/red smaller. Size = about 60" wide.

Turquoise scraps

This is a 4" coaster, made with scraps from the turquoise tier of "Shelter," along with some of the orange-red that will go in another tier. Tomorrow I'm going to start strip-piecing the orange-red fabrics.

Alternating easy and difficult

Writing my last post about ten days ago was very helpful to me. The realization that I didn't have to think about April as a deadline for finishing Shelter gave me permission to enjoy simpler piecing projects without feeling they were a distraction from the larger work. I started up a routine that has been very productive as well as satisfying. I would "warm up" by laying out and piecing together a few blocks of the "Spectrum" quilt, and then I would move over to Shelter. To help me focus on the more difficult work, but not get overwhelmed or discouraged, I decided to limit a stint on Shelter to the length of a CD--about 40 minutes. (I generally listen to instrumental only for work that takes mental concentration--quiet jazz or solo guitar.) Alternating back and forth (though generally not doing more than one or two stretches on Shelter in any one day) has had significant results. The finished Spectrum quilt above, quilted and washed. This is 36x36. I really enjoyed making this quilt, and I think I'll do this pattern again. Below you can see the quilting a little better, along with the back. (As always, you can click on the photo to see a larger image.) I would have liked to handquilt this one--the shot cotton is so soft that the machine quilting seems crude--but I wanted to get this one out to its young recipient.

With the Spectrum quilt done, I wanted to find something else really simple, to keep up the alternation. I've had the "Turning Twenty" pattern in my drawer for a long time, and decided to adapt it for a crib quilt. I down-sized it by 50%, and ended up with this little quilt, 36x44, made from small pieces in my stash. I like Spectrum better, but it was satisfying to use up fabric that I have on hand, and this pattern is adaptable for a wide range of fabrics.

OK, enough on the easy stuff. Here's what happened with Shelter. The next photo gives you a bit of an idea of how I lay out strata, and then have to cut away what's underneath before basting the pieces onto the stabilizer.


Once I get a section set, I baste it all together. I'm putting off the final applique until I'm sure of the composition. With it only basted, it is easy to add something in later.

Today I finished basting up the turquoise tier. I've pinned it up above the blue tier on the design wall, roughly turning under the edges to get a sense of how they'll look when they're pieced together. The piece is now about 60" wide. It will be taller once the black and then orange-red tiers are added.

(For a post that shows all four colors, and that explains the origin of this quilt, click here.)

back to Shelter

Finally, a good stretch of time last weekend and the mental state needed to get back to work on Shelter. The photo above is one section of the turquoise tier, just basted for now, but I'm liking it.

The problem comes as I move across into bigger areas. There is going to be some "stubbiness." I think the piece about in the middle above that ends in a stub is OK, but that the piece that starts with a stub, below the top edge of the tier (like the light green piece) is not. This section further is pinned only, not basted, so no problem making changes. I might try changing the angle of the stub, but it will probably be better to have everything either start from the top edge, or be tucked under another piece. If you are able to follow this somewhat convoluted description and have any suggestions, I'd be glad to know them!

Another challenge is that this tier is so much larger than the dark blue tier that I can't use the same construction process. For the smaller one, I pinned the whole thing up on the design wall, and then moved it back and forth from table to wall to work and look, work and look. This is too big for that, so I am having to work on it just on the table, relying on a stepladder for getting some distance on it. I also am attaching the turquoise strips directly to stabilizer, which I didn't do for the blue piece (though I had the stabilizer cut, and basted the fully pieced blue tier to the stabilizer once it was done). So, more bricolage, figuring things out as I go along.

And in case you're curious about the big project at work that kept me so busy all summer and into the fall, you can see the end product here.

Slow progress on Shelter

I've been very busy with a large project at work for the last two months, which has made it difficult to get back to "Shelter." I am at the stage of building up the large turquoise section that will arc around the blue section. I started working with some strata that I had pieced back in February, but found that working with 42" strips on this larger section wasn't going to work--the pieces looked "straight" even with curved piecing. I finally figured out that I needed to work with shorter pieces and interlace them, as I'd done in a very early sample piece. So, I cut most of the existing strata and most of my fabric in half (scary! I left some uncut, just in case). I laid the strips out on a drying rack (photo above), and now in the shorter bits of time I have for quilting (given the big work project), I'm concentrating on creating more strata, rather than working on laying them out on the design wall--which takes more active mental work than I can muster right now. Here are some of the strata:


And here's a photo of some of the turquoise section, very roughly pinned up--enough done to show me that using the shorter strata is the way to go, but with a lot of pinning and re-pinning yet to be done to get this section working:

Details

Having finished the blue section of "Shelter," I'm taking a break, and have made a half-dozen coasters, 4x4," piecing leftovers from the strip-pieced strata, and adding in an accent color. These make up quickly, especially if I sew just one line of stitching around the edge, rather than quilting lines inside the square. I didn't think to take a photo of version #1, where I had sewn a continuous row of navy blue stitching around the edge of the coaster. The blue stitching across the red/orange stripe was distracting. "But it's just a coaster," I told myself. But I also kept noticing the blue stitches interrupting the contrasting stripe. So, the next coasters I sewed a start-and-stop line, thinking I would leave the earlier ones as they were. In the end, I ripped out the stitches in the earlier ones, and re-did them. Better. At a retreat this winter, Bill Kerr of FunQuilts gave a talk about the importance of details--to carry out one's work into the smallest detail. The point seemed somewhat obvious, but in these past months I've felt the influence of the talk a number of times--pushing me to consider a detail that I was tempted to skip over. Now, these coasters are far from perfect; they tend to have dips or bulges on one side or another, not easy to control for. That I'll live with, but the element of contrast was too important to mess up. . . even for a coaster.
Here's another one. A quieter contrast--I like this one a lot. I just finished reading a collection of essays by the composer Roger Sessions, Questions about Music. (Not a usual subject of reading for me, but I'm participating in my public library's summer reading program, which challenges you to read a book in eight different categories over a period of six weeks; music is one of the categories.) The book includes two essays on composing; lots of analogies to the process of creating a work of art. For example, he talks about a composition being built on elements of association and contrast. I tend to be drawn to fabrics closely associated with each other, and have to push myself to bring in the element of contrast of value and hue.

Bricolage

I've spent this week going from pinned up sections of strip-pieced strata to sewing together the sections with needle-turn appliqué. As I have tried this and that in the somewhat complex process of construction of this piece, the term "bricolage" came to my mind. It's a term I learned long ago when reading Claude Levi-Strauss's book, The Savage Mind; it refers to the making of something through a kind of resourceful tinkering or fiddling around, making use of things that are at hand. When making a quilt that originates in an idea, rather than a pattern, it can be a puzzle as to how to physically get the fabric to do what one has imagined. Sometimes I feel like an engineer, figuring out a process of construction. But "bricoleur" (one who does bricolage) is closer to the role, as it is not a systematic, principled process, but one of trial and experimentation.

Next spring I'm scheduled to do a talk at the college where I teach, in a series dedicated to the research/creative work of the faculty. I'm planning to talk about my turn from research to art, and knowing that this is coming up in a year, I find that I'm starting to think about the talk. This is probably why I've been noticing comparisons of the artistic process to the research/writing process. I can't think of anything parallel to "bricolage" in my life as a writer. Nothing physical (except my love of the original historical documents--though they were not material that I were subject to my physical manipulation, other than careful handling), and very little that was experimental and spontaneous in the way that working on a quilt can be.

* * * * *

Below is a close-up that shows a line of applique joining strip-pieced sections. In working on this quilt I've been helped by two books that explain methods for doing layers of curved piecing, Vikki Pignatelli's Quilting by Improvisation and Karen Eckmeier's Layered Waves. These have both been very helpful to me, though I'm using hand-stitching to join the sections, rather than the machine stitching they use (Pignatelli using a blind-hem stitch and Eckmeier a top-stitch). Both books avoid using the word "applique," even though these are both methods of machine applique. It seems that many quilters are put off by the notion of applique, which is really too bad, because it makes possible virtually anything in joining fabric.

And here's a section that is all sewn up. By the way, the photo I put in my posting last week was way too dark, but my camera was on the blink and after that photo it gave up the ghost. These images taken with a borrowed camera are much better.

When is something done?

One week later, I think this is now ready to be sewn. (Click on image to enlarge.) After the version posted on 5/30, I fiddled for another hour or so, and then wrote to a friend, "Knowing there are limitless variations, it's sometimes hard to know when to stop. Sometimes I know 'This is IT,' but sometimes the feeling is more like 'yes, I could go on, but this version is good, so get on with it.' Right now, I feel more like the latter. I'll look at it again tomorrow and see what I think." Well, when I looked at it the next day, I knew it wasn't there yet. Every day this week I've spent time adding and changing pieces. As soon as one section was better, something would bother me in another section. When is it done? When I can sit peacefully in front of the work, with no one spot catching my eye, calling out to me for further attention.

As I've turned from writing and scholarship to quilting, I've often seen parallels in the two processes, but this issue of "done-ness" seems different. When doing research, I could tell I'd done enough when there started to be diminishing returns--when the more I read, the more I came up with things that confirmed what I'd already figured out. When writing, I would always go through multiple drafts, revising, revising, and more revising. But when writing a book--or even just an essay--one never sees the work all in one visual experience. It's easier--or more necessary?--to accept that one has to let the work out in the world without perfecting each minute detail. But maybe there's a parallel also. What would keep me from considering a chapter finished? If there was a place where I realized the argument wasn't clear--where the reader would have trouble getting from one paragraph to another, or one sentence to another. In a quilt or visual art one also needs movement through the piece, needs not to get caught in one place.

First section of "Shelter"

For the last couple of weeks, I've been back working on "Shelter," constructing the bottom left corner. (Click here for a sketch of the quilt and notes on how the layers are being constructed.) The photo shows a lot of strata pinned in place (28"high and 34" wide). The challenges I'm finding are: 1) working in variations in line, avoiding too many parallel lines; 2) judging the right quantity and placement of light-valued pieces (the largish shiny stripe in the upper right is not so bad in reality--it's satin that is catching the flash); 3) avoiding some pieces that sweep across the whole field. I thought I had fixed this last issue, but in adjusting something else, there it is again. A detail:

Suggestions welcome!

Progress on "Shelter"

After a couple of years of making countless small sketches and maquettes with different combinations of curves for my "Shelter" quilt, I made the leap recently to a full-sized pattern. It has turned out to be larger than I had been thinking of—this is 58x70 (instead of about 34x40)—David's suggestion and a good idea. The width was determined by how far my hand could sweep a line without me taking a step. (For other views of the plan for the quilt, go to this earlier post.)

I've been making progress with doing sets of curved strip-piecing with the fabric I've collected in turquoise, cobalt, rusty red, and black. The next photo shows which color I'm thinking of for which part of the quilt. There will be many panels joined up in each swatch of color, with a variety of angles. Reading Vikki Pignatelli's Quilting by Improvisation has given me very helpful ideas for how I'll stitch them together—basically, an improvised appliqué technique.


Here you can see the four colors together, just pinned up on the design wall.

And I might mix them up, also. It will be easy to add other colors in, as I play around with the panels. Here's a sliver of red added between the turquoise and cobalt.

Lynette suggests that the red-orange in the upper right may overpower the quilt, and that having a fifth swath between the orange and the black might help. It will be a while before I have enough panels done to get an idea of how much I'll need to mix things up.