Tag: fabric collage

Garden Dance

Tawanda made an appearance in my last post.  I referred to her as my outdoor spirit doll.   Now she’s an element of an art quilt.  

We’ve been sheltering in place now for several weeks with no antiquing adventures to replenish my stash.  But, oh, how my collection has grown.

Since friends are at home, they’ve been cleaning closets and drawers and I’m reaping the rewards. One day the mailman brought a box from Alabama.  Susan had sent a box of tea towels, doilies, and dresser scarves her grandmother had passed along to her.  She kept the one she and her daughters would use, but sent others to me.  

This hankie’s image looks like the clematis blooming on our fence.

A friend is moving to another city and won’t be taking everything she has acquired over the years. She thought I could use a collection of women’s hankies. Oh, yes, indeed, I can.

This pile of blue from the fabric samples made my heart skip a few beats.

And Helen had a box of discarded drapery and upholstery samples.  Silk, linen, cotton, and wool.  Yes, wool.  I was amazed, too.  Lovely, lightweight, sheer wool.  I can’t wait to see how that behaves in the dye pot.

More drapery samples sorted by color…inspiration for a red quilt, I think.

And Joyce, a new friend who was at the last guild where I lectured has a box waiting for me filled with beautiful linens.  She no longer quilts, having moved on to a new focus in sewing, but has acquired beautiful pieces.  Once Joyce’s friends saw that she could give new life to their linens stored away in hiding, they shared with her.  “More than I can use in my lifetime,” she says.  So she is sharing with me.  Now that’s something to look forward to when this stay home order is lifted – a drive to collect that box!

Garden Dance celebrates Tawanda’s exuberance with Spring and all the treasures I described.  I sketched her image, transferred it to fabric, then collaged bits of embroidery from one of those silk samples I mentioned, vintage crochet, some recycled denim clothing.  A few buttons, and a lot of hand stitching brought it all together.  That pop of color at the top right is a piece of trim I bought in Paducah one year.  It was a dusty bolt of unused drapery trim, stained and hopeless looking – and containing some polyester, I’m sure.  But for some reason it spoke to me; maybe the many, many yards of something for little money.  But it loves new color.  I’ve painted some of it and the bit you see here has taken a dive in the indigo dye pot.

Tawanda is a sculpture made of rebar and cement and she’s nearly 20 years old.  She was one of those purchases that I thought, “I shouldn’t spend this much money on yard art, but I really want to take her home with me.”  She was at a local garden center and I think I saw her dancing there on a couple of visits before I succombed to her charms.

As is often the case, I used an old quilt remnant as the base for this collage. Notice the patch some previous owner had made – I was thrilled that I found a place to include it.

She has brought a smile to my face on countless days over these years and I’ve never regretted that expenditure. It seemed it was time to memorialize her in a quilt.

Her name, Tawanda, comes from the movie Fried Green Tomatoes.  if you are familiar with the characters in that production, you understand.

The quilt finishes at 12″ x 16″. Here you see the label attached to the “front” of the old quilt which is now the backside of Garden Dance. The faded homespun backing is one of my oft-used vintage backgrounds. I wonder if the woman who made this scrappy quilt years and years ago would approve of my use of her work. If she was a Tawanda herself, I think she would say, “You go, girl!”

Cousins

Jane and Susie were not just cousins.  They were first cousins.  They were not just first cousins, they were double-first cousins.  

Their mothers were sisters, their daddies were brothers.  They were two years apart in age, and shared not only all their relatives, more than the average common DNA, but many experiences.  This early photo (about 1940) conveys the closeness they shared.

This photo was taken at the home of their paternal grandparents.  Many family photos were set on this porch, on these steps, actually.  Imagine a Sunday afternoon after church, adults visiting on the porch; maybe other cousins playing in the yard, neighbors dropping by.  These two almost sisters (later, they would have other siblings, but not yet), forging a lifelong bond.

I printed the photo on vintage linen, and added red French knots as buttons on Jane’s dress.  The bow in her hair is a found earring.  

Layering the photo on wool batting before densely quilting the background adds dimension to the girls. The oval “mat” is a vintage linen embroidered placemat layered on commercial quilting fabric. Beneath all this assembly is a layer of thin cotton batting. Shells (repurposed from an old necklace found in a thrift store) were attached using red seed beads to anchor them.  I hand quilted all the layers together using a seed stitch with tatting thread.  This thread is a new discovery for me (found in a bag of sewing supplies from an estate sale).  I’ve never tatted nor made lace, but the size 80 cotton thread created for these crafts is perfect for a lot of the hand stitching I do. 

Note to quilters:  that seed stitch leaves a messy backside, so when I use it, I don’t have the final backing on the quilt.  I attached another layer, the piece with red cross stitch on it, using the invisible baste stitch I learned from Jude Hill.  That’s really a seed stitch, too, with just a dot of thread showing on the top, the longer stitch on the “back” nestled in the batting, not coming through to the other side. 

That backing with red stitching is a section of an old tablecloth.  I found it on an antiquing plunder and was drawn to the cross stitch, of course.  The tablecloth has some stains and had a hole in it – making it less than desirable as a tablecloth.    But I rescued it and put it to work.  It’s very desirable as a component of art quilts!

The final quilt measures 16″ x 23″.

Safe Haven

I don’t say this often, but this art quilt was all hand stitched.  I almost always attach something by machine, or get a trapunto effect by using dense machine stitching to add dimension.

In this case, the underlying quilt itself was all hand stitched.  But it is not all my hand stitching – some unknown woman made the quilt remnant which is the base of this piece.  She pieced baskets from a rather unattractive orange fabric with a white background.  As I stitch things onto it, I know at least part of it was made from sheets – the thread count is high, making my stitches less than pleasurable.

I overdyed the remnants of this antique store find in the indigo dye pot and now I have green baskets on blue.  Much better color.

This piece got its start when I found escutcheons at Seventh Street Salvage and brought some home.  The composition was started with a thrill, but stalled when I struggled to find a way to attach the heavy piece to the cloth.  After months of staring at it and rejecting first this potential solution, then the next, I just sewed it on.  Who knew it could be so obvious?  Or so simple.

The weight did dictate that some support was needed, so I mounted the piece onto a canvas mat – that involved hand stitching too.  You can examine this photo taken from the back and see that stitching.

The machine was needed to attach the label to the canvas.  That could have been done by hand, but it’s faster and easier by machine – gives my hands a break.  I first remove the needle and presser foot, put the canvas under the needle bar, reattach the needle and presser foot, then stitch free motion to attach the label.  

I combined elements I liked because of the color or the mood they conveyed. The title is obviously linked to the key and the escutcheon, but I like to think of our home as a safe place for the birds and the bees and the flowers, as well as for the humans here.