today is one of those northern days; foggy and wet. very conductive to hot tea and soup.
don't know whether it's the novelty, but i like them.
|Terence Coventry's "Choughs"|
|Perspectival print of a gasometer, simple but complicated (or vice versa)|
|The artist is Zachary Eastwood-Bloom|
|Janet K found the "insect" downstairs|
(actually it's Ark by Steve Dilworth)
|Joyce caught some people (perhaps a staff meeting?) and added sepia|
|Sue went outside and shivered through two drawings of Post Inert Phase II Disc|
by Geoffrey Clarke
|Carol, too did "people and poufes" ... as well as "drums or seats", an improvisation|
resulting from someone sitting down and blocking the view of the empty chairs she was about to draw
|Judith rose to the spatial challenge|
|Jo's series of drawings of the paintings of north Cornwall artist Leo Davy|
|Najlaa found a sculpture by Geoffrey Clarke - very different from the one Sue drew|
|Michelle's technicolour version of "the red thing"|
|I took a few notes from the wall of prints, then put graphite on a page and used the|
rubber to emulate Peter Randall-Page's scarabs, experimenting with ways of making them visible
|Chunky felt tip markers - in bright, neon colours|
|The Rotring Art Pen takes ink cartridges - of any colour|
We are hoping that this is our last day of below freezing weather. We are due for warmer temps and torrential rains and flooding, now. I guess I am glad we live on a hill! We did get out and about this week-end. We found that our car, which has 4 wheel drive, handles the snowy and icy roads quite well.
I finished the Arty Oven Mitts that I started. They needed a binding around the opening.
I also have made some good progress on knitting two more pink pussy hats. I think I can finish them by Saturday. I made the ribbing white for one of them because I did not have enough yarn of that color for a whole hat. I think it will look great.
I have made progress on the Silk Stitch Along with Laura Wasalowski. First is my practice piece. Just a reminder that I am using the same colors on each piece. They look so different in some cases.
Tomorrow, I am going to do some work on my Indigo Moon house. It needs a more rigid interior. Here is a photo of it. We are going to share 3-D work at a SAQA meeting on Wednesday.
|Are you shocked at the way the quilts are displayed?|
|The project is about what might have happened (via)|
So, I am supposed to be working on something that has a FIRM due-date of mid-to-early-ish March. I have dyed the fabric and know what I’m going to do, but got sidetracked for a few days doing something I’ve wanted to do for eons: paint the basement room that has the furnace, water heater, fuel oil tank, and water pump in it. WHY? Well, it’s where I do my fabric dyeing. Since fabric is a lot more attractive than cement, here’s my last two batches of fabric. Remember them, you’ll see them transformed at some point this year.
What provoked this flurry of activity? The Elfa sale at the Container Store, where good quality closet storage stuff goes on an annual 30 percent off sale. Decided after much research it would be the best option for getting some shallow shelves above my “not a legal sink but a a basin” in my dye room because it would require the fewest screws going into the cement foundation walls and those few could be above grade (important for when the ground and snow melt in spring). Here’s the before:
I decided that I couldn’t stand putting the Elfa stuff in without finally painting the walls white (which will help with light and visibility in the room), so I started painting. Four days ago!
I finished the last of the painting/priming today. I used DryLock which helps keep water out on the cement walls. It is like trying to paint with sludge/mud/thick paste. ICK. Primer on the base of the chimney/stone fireplace, and semi-gloss on the wall behind the sink as well. I’ll post pics of the shelf stuff once it arrives and is installed. It will require a masonry drill bit and Advil for the arthritis in my hands that will be aggravated from drilling the holes!
Being sited in a poor industrial area, the station saw little use, and Sunday services were withdrawn entirely from 5 May 1918. The station remained open for weekday and Saturday traffic only until 19 September 1932, when it was permanently closed.At the start of the King's Cross redevelopment, there was some interest in reopening the station to reduce pressure on King's Cross St Pancras, but to date the proposal hasn't been taken up, despite a proliferation of high-rise living spaces in the past 10 years, filling the "poor industrial" space -
|Gradual return of furniture|
|Carpenter and client|
|The books, of course|
|Several bags of notebooks and sketchbooks going back to the 1980s|
- my "external brain"
|More magazines than these, collected for decades|
We are still snowed in here in Portland. Schools will be closed again tomorrow. We ventured down the hill to the grocery store this afternoon. The streets are all packed snow. By Monday, we are supposed to finally get above freezing with rain and it will soon disappear. Today the sun came out and it was beautiful to see the trees and buildings shrouded in snow.
I am so glad that I have lots of projects to work on. I have two sides of one of my oven mitts ready to stitch together.
I did free motion quilting first and what a mess. I ripped it all out and did some more sensible straight line quilting.
I have both trees finished for my silk stitch along with Laura Wasalowski. And I have been working on two more pink pussy hats. The top embroidery is my practice piece and the other one, I try to remedy the mistakes I had in the first.
Thanks for stopping by!!
Simply because we don't allocate to prose the lingual attention, the aura, the essentiality, that we do to poety: Because we want the forms to be different?
Not marble nor the gilded monuments
Of princes shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone, besmear’d with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.
‘Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room,
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lovers’ eyes.
The power of the artform is stronger than stone, the poet says, and chooses the sonnet, a form concerned with argument and persuasion, to say so. This sonnet, he says, will last longer than any gravestone - and you'll be made shinier, brighter, by it. In this form it will - and therefore you will - avoid destruction by war, history, time generally; it'll even keep you alive after death; in fact it'll form a place for you to live, not die, where you'll be seen in the eyes of and the context of this love right to the end of time.
But there's always another story, there's always another way to see the shape of things: up against Shakespeare's overweening gorgeous sweet arrogant protective and still very well functioning preservative formIt's here (page 68) that she presents a "jarring anecdote from Wallace Stevens". This poem, about the jar and the hill.... (Get the book to read more...)
|10.25" x 9 1/16" (boxed); 19.5 x 126.25 (open)|
It is snowing again in Portland. This is a photo taken from our dining room window tonight. I was so happy to get out and take a long walk with Mr C and Scooter and not worry about slip sliding. Schools are closed again. Trinity is closed and we will not have our lovely Wednesday night community meal and classes.
I have been getting some stuff done. I finished the first round of stitching on the background up above. I started stitching on the second one tonight. It is interesting to see how the same color thread looks different on the two backgrounds. It probably doesn’t show in the photos.
I also cut and pieced some more fabrics to make two more arty oven mitts.
I knitted a pink pussy hat to wear to the Portland Woman’s march on January 21. I used the Prisma app on the photo. It makes a photo look more arty!! I am knitting two more hats, hoping some family members will wear them.
I have lots to do while I am snowed in. But, I really am getting tired of this winter weather. I did not sign up for this.
Boundary Waters 83
39.5 x 40 inches
Materials: White cotton fabric, non-woven fabric, Lutradur, ink, gel medium, acrylic paint, miniature paper fasteners. Techniques: Screen print, paint, collage, cut, punch, fasten.
Virginia A. Spiegel
Boundary Waters 83 is one of 34 artworks from 522 entries juried into H2OH!, a Studio Art Quilt Associates traveling exhibit focusing on water. A list of all the accepted artists and venues already scheduled for the next three years are here.
I SOOOOOOOO wanted to be in this exhibit because when I am by or on a lake, river, or ocean I feel I have arrived exactly where I need and want to be. And, of course, the waters of the Boundary Waters Canoe Area Wilderness are near and dear to my heart. I continue making artwork in this series not just as an artistic expression of how I feel about the landscape, but also as witness to an area that must be cherished and protected from development and exploitation.
Boundary Waters 83 – Detail 1
There are three artworks in this series within the series. The other two are under wraps until I enter them a few more places. There is no stitching in the three artworks. Let’s just say THOUSANDS of miniature paper fasteners would not be an exaggeration. The action of punching small holes and inserting the fasteners is actually quite similar to hand-stitching and equally time consuming.
Boundary Waters 83 – Detail 2
|A ghost spirit|
|Another ghost spirit, with a modern flashlight and show-off watch!|
|A procession of shadows|
|Scene from the Balinese tradition of the Mahabarata - Arjuna is shooting|
his magical arrow during battle; the blue Krishna is his charioteer
|The body of the clown Semar (painted on glass) is made up of Arabic calligraphy spelling|
out the Islamic declaration of faith
|5 Dam Head, Holmbridge, W.Yorkshire, 1977|
It’s been rather the international year for me, since my Milkweed No. 2 art quilt, in “a matter of time” exhibit curated by Australian Brenda Gael Smith (no relation alas!) has also been published in Quilters Companion, an Aussie magazine!
and here’s “my” page, with my new friend and fellow exhibitor Mirjam Aigner. I have to say I love the internet…how else would I have found this call for entry, sent my quilt off to the other side of the world to tour, and made new friends without having met them in person?
You’ll have to track down a copy of the magazine to see the other quilts. I do miss the days when international postage wasn’t insane! I used to subscribe to an Aussie and a New Zealand quilt magazine, but the price became prohibitive. But for an issue in which I’m published, yep, I’ll take that!
|There always seems to be construction around Victoria|
|Eye-catching! Black and white patterning|
|We're in royal ceremonial territory here, just beyond Buckingham Palace|
|Frederick Winsor, pioneer of gas lighting|
|Blue plaque for artist Thomas Gainsborough came into view after this photo was taken -|
it's cradled in the arm of the far statue
|More black and white patterning|
|A cardboard home on Savile Row|
|One of the outrageous shops|
|Sherlock Holmes,larger than life|
|Dog walker's delight|
|Past the football pitches ("booked games only") are some wooden|
sculptures of animals on the west ...
|... and zoo structures on the east of the path|
|Large houses, lovely windows etc etc, in St Johns Wood|
|This house looks rather out of place|
(Is this really a painting of the interior, or is it of the interior of Rosenstead,at the same address - possibly an earlier house on the site, home of art dealer Ernest Gambart)
|Outside Swiss Cottage School|
|Swiss Cottage Underground|
I had so much fun making this arty oven mitt. I selected some heavier fabrics from my stash of scraps: bark cloth, upholstery fabric, drapery fabric.
I pieced them into two sections large enough to cut the glove.
Then I layered them with Insul-Bright and some cotton ticking for lining and quilted the sandwiches together.
Next I cut out the glove shapes and stitched them together. I just have to bind the open edge.
I have done the first set of stitches on the silk backgrounds for the silk stitch along with Laura Wasalowski. We were told to do a simple horizon line.
It has been good to have projects to work on because the weather here has been miserable. It has been below freezing for a week and then it snowed, sleeted and rain so everything is coated in ice. I am getting cabin fever.
|Heading west and looking across to the City|
|Southwark Bridge (1921); at low tide you can see pilings of old docks|
|Sculpture under the north end of Millennium Bridge (2000)|
(no time to stop and read about it!)
|Along the South Bank - the London Eye|
|Looking west and hoping the rainclouds are dispersing|
|Photoshoot on Westminster Bridge (1862)|
|Obelisk at the north end of Lambeth Bridge (1932)|
|Restaurant boat left high and dry by the tide|
|Battersea Power Station under redevelopment|
|Chelsea Bridge (1937) came under discussion as the location of a book |
no-one could remember the title or author of (it wasn't Offshore)
|Lunch stop at Battersea Park's Pear Tree cafe, beside the boating lake|
|Albert Bridge (1873)|
|Statue of Whistler at the north end of Battersea Bridge - he famously|
painted the old bridge (Nocturne in Blue and Gold) in the early 1870s
|A Whistlerian type of river scene|
|A jumble of walkways to the houseboats|
|Artist William Greaves and (prolific) writer Hilaire Belloc|
|Painter Philip Wilson Steer next door to sculptor John Tweed|
|Suffragist Sylvia Pankhurst |
(her daughter-in-law was my boss in my 1980s library job)
|I cut out a very large paper stencil of a fire escape and traced in thread|
|audio books are great to listen to when I do this type of work, podcasts are great also|
|it started to look like this|
|the base is a very old linen bed sheet from my family, it might have even been used a drop cloth once as there are white paint splotches on it. I spent some quality time mending all the worn spots.|
|this is what it looked like when the stencil outline was done|
|then I started pinning bits and pieces of vintage lace to it|
|I intend to cut away some of the lace after it's stitched down|
|this is what it looked like at the beginning of the process. The idea behind all the lace layers is that I want it to resemble/represent a wall behind the fire escape|
|just lace didn't work, so the fabric scraps came out to play|
|this started looking better!|
|somehow it took on a spring like feeling... I don't think it'll stay...|
|this is when I got done layering my scraps and lace. Now I have to stitch it all down and cut away the excess so that the fire escape can be seen again|
|it's off the wall and on my dining room table, and I'm auditioning threads. Not only will they need to keep it all together for me, but they'll need to add color and texture|
Yesterday, I went to my new studio to get some things done for a couple of projects I am planning to do. I gathered some of my more heavy weight scraps and fabrics to piece for making the oven mitts. I also, pulled out some of my hand-dyed silk fabric to use for Laura Wasalowski’s silk stitch along. We were to fuse the silk to wool batting. I didn’t have any so I used wool felt for one piece and a scrap of something that looked like it would be easy to stitch through. I prepared two backgrounds because I like to practice on one.
I also pulled out all of my Perle cotton in sizes 8 and 12. I am missing some colors I think I might want to use. I will need to go down the hill to In Stitches and do some shopping.
I didn’t accomplish much today because I was feeling a bit slammed. I went back to boot camp at the condo gym yesterday morning, and we did weight training. I am feeling it today plus the really cold weather we are having is aggravating my sinuses.
Last night I started a great class at Trinity – 4 weeks of studying the work of Bach. The teacher is an organ virtuoso and a Bach expert. We sat around our beautiful organ as he demonstrated many parts of a famous Bach toccata and fugue. I took some photos of the organ and the Christmas decorations.
Some of you may remember the quilt I made from a photo I took of the pipes.
It’s the start of my studio season with hardly any snow, but temps in the single digits. It’s such a joy to be once again inspired and working in the studio every day.
Above is an artwork I just started for the Studio Art Quilter’s Spotlight Auction at their annual conference. It’s two layers of Lutradur stitched together and burned. The inserted fabric is hand painted and I added ink highlights. Now on to hand-stitching! Title: December 21.
I also have in the works two new Boundary Waters – one of which I am sure to bring to completion, the other is a bit shaky at the moment. Onward!
For it has a grave insouciance,It's from Signs Round a Dead Body (Seren, 1998), which "was a Poetry Book Society Special Commendation. In a review, Anthony Wilson wrote: "Most admirable about her work is that she goes for it in nearly every poem, truthfully and unashamedly singing. One of her titles, 'What It's Like To Be Alive,' could summarize her whole project." "
What they call in Sassoon's "a natural air".