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Funnies

I spent most of yesterday–the Fourth of July quilting.  Pedal-to-the-metal type quilting.  Red-Pepper-Quilts-type quilting.  But first, I put in two tomato plants, some basil and some herbs.  That’s pretty funny to do it on the hottest day of the year, a full six weeks behind schedule.  But that’s because I vowed No Garden this year, given our usual crop of $60 tomatoes, an old joke on how much it costs to do home gardening.  The possum and raccoons are kind of ticked off at me for closing the kitchen this year, tipping over pots on the patio in search of the usual canteen.  So we tilled the soil a couple of days back and amended it today with Miracle Gro (I need some stuff called Miracle Quilt, as does the granny in the cartoon) and little green plants are wilting and wavering in the hot breeze.  I’m calling this a preparation-for-winter garden, with some summer enhancements.

More funnies are in how stiff a body can get while sitting quilting.  The foot hurts from up, down, poise and the shoulders ache, even though I’ve propped up my machine with two door stoppers at the back to guarantee a good angle.  So I have to take a break every once in a while–as the more elderly woman at our quilting bee once advised.  She had a timer strung around her neck, purchased after her doctor said to take a break every 30 minutes.  So we’d sit there at the table, quilting and chatting along when all of sudden we’d hear a bell, and she’d jump up and stride around our U-shape of tables, arms swinging high as her cropped hair all the while she encouraged us to “get off our duffs” and stretch.  More encouragement every thirty minutes until at last, by the end of the bee, we were in need of some stretching and allowed ourselves to be bullied into moving our duffs at least back and forth in place.

Five years later, I still think of her, and try to schedule a break from the machine to read Sunday’s leftover paper, get a drink of water, change the laundry, and yes–write a blog post.

Here’s a photo of the fireworks in black and white–a new twist on our traditional (4th of July) event.  They shoot off our fireworks on top of the local mountain–and every once in a while, like tonight, a rocket goes haywire and burns Mt. Rubidoux.  No worries, billions of fire trucks are there and are prepared with fire cannons, sirens and a little excitement.  We left our downtown viewing spot, winding our way home along all the clogged streets to our quiet house.  Much later we heard the cannons going off, and we watched the end of the show from our upstairs bedroom window, the lights flashing for the grand finale, with the thundering sounds arriving seconds later.  A  good 4th, this year, I think.

Creating

Traveling

I’ve been in Washington, DC this past week, visiting friends.  My sister joined me for one day (one MUGGY day) so we stayed in the National Gallery of Art for the most part, taking it all in.  But everywhere I went, I saw the grid.  The underlying architecture of the quilting world, even if we distort it, or break it, or deconstruct it.

The roof of the National Portrait Gallery, and the wall of the courtyard that caught the light.

Sol LeWitt’s stack of blocks.  Almost looks like a bunch of HST there on the right side.  Good luck with the left side.

The iconic image of the the last election, but hey–don’t you see the Orange Peel block there on his upper left cheekbone?  (I enlarged it for you.) This version of the image by Shepherd Fairy is a derivation of what was used in the campaign, and incorporates what is said to be “decorative papers.”  Hmmm. Why can’t they acknowledge quilting blocks?  (Can you tell I just finished reading Jennifer Chiaverini’s latest book: The Master Quilter?)


The carpet in our last hotel.  Reminds me of Ricky Tims’ way of splicing two different interesting whole-cloth fabrics into a “convergence.”

And look! Three blocks!

I spent one day with Rhonda, one who joined in the Red/White Challenge and who took me to the Lorton Workhouse where we enjoyed a lovely day filled with all sorts of inspiration and art.  We saw a watercolor of a lovely pot of flowers by Marni Maree and the title was Sixteen Things About Me. Sure enough, we could spot little artifacts that represented her hidden in her painting.  So Rhonda and I got thinking about doing a small quilt, but lowering the number to say, ten objects, working them into our designs.  In another gallery we saw a quilter who made extensive use of raw-edge applique.  So we added that “rule” to the budding challenge we were thinking up.  But we stopped short of deadline or any other rules, because she’s working on the dotty quilt I have waiting for me to finish with (yes, I got it back from the quilters), and then we’re already doing the appliqued Lollypop Tree blocks together.  The goal: one a month.  But if you think you’d like to join us in this idea of a challenge, leave a comment and propose a size.  Maybe we’ll move it up in the queue.  Or maybe it sounds like a lovely thing to do NEXT spring.  Afterwards we enjoyed lunch together in Occoquan, Viriginia at the Blue Arbor Cafe, where I had an amazing lobster roll. Tons of lobster, but as terrific as that was, the time visiting with a good friend was even better.

Here are all the red/white blocks together so far.  When we were traveling, we stopped the mail, but it gets delivered tomorrow, so I can then wash and iron the red fabric and get my blocks done!

Creating

First Quilt Ever

Sometimes it’s wise to pause in the headlong rush to completion and busyness and take stock of where you are before you jump off the cliff again, and summer is often a good time to do just that.  I’ve mentioned before that I began to photograph all my quilts.  First I had to make a list, and as people talked to me, I would pencil in another and another.  It’s like forgetting one of the children, but I think I’ve about got everyone.

Occasionally I’ll post about them, and as I do, I’ll catalogue them on my page Quilt Gallery–Body of Work.  Here’s the first quilt I can ever remember making: a whole cloth quilt made from some densely woven Holly Hobby print.

I was pretty clueless about this quilting business, but I had slept under handmade quilts on occasion so our family was not bereft of something original.  I picked out this fabric, layered it over a plain yellow backing with some lumpy batting and put it in a hoop and stitched around nearly each figure.

Why lumpy quilt batting?  They were all lumpy in the early 1970s–big polyester wads that you had to unfold and unfold and smooth out and then stitch fairly closely so it wouldn’t shift in the washing of the quilt.  Decorative edges were the norm; this one has 2″ eyelet ruffling with rounded corners.  I’m pretty sure I stitched it onto the top, then folded the backing over to meet it and whipstitched the edges together.  I wrote about this in an earlier post, and defend its homeliness.

The back.  So different than what’s au courant now.

And here’s the place where I couldn’t figure out how to stop or start–a nice little nub of thread under one of Holly’s shoes.  I think it was about another 5 years before I really figured out that beginning/ending of the thread thing.

I realize that looking at my first quilt is like that old saying about my child’s precious and lovely, and yours is coarse and picks its nose, but I hope that by showing this, you’ll be realize that everyone is somewhere on the quilting spectrum–from beginner to master quilter.  This is where I began, and if you post or write about your first quilt, come on back here and leave a comment so we can see how far you’ve come!

Creating

Churn Dash

The first block is finished from the Red/White Challenge!

Sara finished up her Churn Dash block and sent it to me, and she was very happy to have completed her square (she’s a beginning quilter).  I think it looks beautiful–there’s something so simple yet lovely about these two colors put together.

I think the vibrancy of the red, which acts as a dark value, really makes the red/white combination pop.  That old saying “color gets the credit but value does all the work,” applies in this instance.  We think it is because of the red that the block looks so crisp.  But it’s the deeper (a darker value) red that is doing the work, as you can see in the block below.

I’ve simply lightened the red to a medium color.  The block is not nearly as vibrant or interesting.

Red also has its own stories and folklore, from the popular red and green Baltimore Album quilts, to this story, related in the book Wild by Design (Berlow and Crews):

“[A quilter] recalled an instance from her youth in the early twentieth century, when she and her mother traveled to the dry goods store to buy some fabric for hope chest quilts:

‘We had picked three pieces of remnant blue and was just fingerin’ some red calico.  We was jest palnnin’ on enough for the middle squares from that.

‘Just then Papa came in behind us and I guess he saw us lookin’.  He just walked right past us like he wasn’t with us, right up to the clerk and said, “How much cloth is on that bolt?”

‘The clerk said, “Twenty yards.”

‘Papa never looked around.  He just said, “I’ll take it all!”

‘He picked up that whole bolt of red calico and carried it to the wagon.  Mama and me just laughed to beat the band. Twenty yards of red.  Can you imagine?’ ”

And in honor of men who buy red bolts of calico, and help us in all we do, Happy Fathers Day!

——-Update———Two Red/White Challenge Blocks are In!———-