Doleket, deconstructed

May 2, 2013October 26, 2017 Elizabeth E.11 Comments

When the theme of fire was announced for our Four-in-Art group, I immediately thought of all those days spent roasting marshmallows over campfires, just like Betty did. And then afterward, when people would gather back and just sit and watch the flames, as they moved and shifted. It was that movement I was trying for. I had thought about taking a lot of pictures of fire and scanning them onto fabric. What was I going to do, light a bunch of bonfires and take photos? Nyet. Then it was patch together a lot of squares, and “color” them by doing rubbings of a textile crayon onto the surface. Because I couldn’t come to a vision of that one, it faded, too. So one day in a church meeting, I sketched the bit on the left:

I dropped the notebook and when I picked it up, I noticed I liked it better the other way (the version on the right). With the triangles pointed upwards, it also had a birthday candle effect.

I dutifully drafted and cut out a bunch of orange and yellow-gold miniature triangles, and pulled red, ochre, rust, magenta fabrics from the stash.

I chose whatever colors I had in my stash that had that “fire” color to them.

Because I wanted that idea of movement, I pieced up the strips with two colors. It’s about this stage in the process that I begin to talk about it to my husband. I told him I’d been reading in a book, Why Faith Matters, by David J. Wolpe, and although I hadn’t gotten very far, I had read the section about Abraham and the idea of doleket, and how the duality of fire was presented in that passage. I began to research this idea, and to think about it as I worked.

If this was to be a consuming fire, then wouldn’t there be fallen timbers? I took a few of the strips, laid them across the upright timbers, stitched down on edge, then folded them over. I figured I didn’t need to really nail these appliqued pieces to the cloth, for it was in a place of construction/destruction. I may sound like I’m spouting malarky, but how do you explain where the brain wanders?

First draft Doleket. This measured way over our constraints of 12″ per side.

So I laid two pieces of cloth over the top and bottom, trying to figure out where the trim line would be. Whoa! Tidying up that jagged line really bothered me. I’m usually one who likes her quilts — and edges — all tidy and pristine, but this wasn’t where this quilt was going. Construction, or creativity, and destruction by fire happen in a random, haphazard manner.

So from the back, I raggedly hacked at the edges, purposely making them uneven and slightly unkempt.

Our group is keeping to the idea of a quilt sandwich and I knew I wanted the batting to be organic–cotton, rather than my usual. But I needed to piece some scraps. I auditioned several pieces for the background of the burnt timbers, but ended up going with a text written in a vintage style. I was thinking about words, how they also are permanent, yet ephemeral.

Now to quilt. I just started stitching along the strips, quilting right over the crosswise strips. I’d done a few, and really liked the hanging threads — they reminded me a prayer shawl (seen mostly in the movies, to be quite frank), and I liked them.

I took it outside on a bright sunny day, laid it on this yellow cloth and took a photo, but realized that the small details of the threads couldn’t be seen. I also had a hard time photographing this because the reds would freak out the camera sensors. I think this version is the best representation of the color.

Betty had started making labels for her pieces, and I wanted to follow suit. So here are the three we’ve finished so far. Our next theme is “owl.” I’ve known lots of owl collectors (of trinkets, mostly) in this world and I’ve never been one. But it’s really in nod to wisdom, so Betty says, so I’ll have to think about that. Our next reveal is August 1st–right after Rachel delivers her baby.

We’ve settled into a comfortable groove now, and while sometimes it’s been interesting to bring the discipline to get these done on time (we did move one deadline), I’ve appreciate how the process, and the product, has been gratifying. I was curious to see if I could make “art.” And with this last piece, I think I can say I’m approaching it, if only in my small way.

I’ll end with a few thoughts from a recent obituary for Eudorah Moore in the LATimes, describing her as someone who “blurred the boundaries between art, design and craft.” She championed “mixed-media inclusivenss,” working for years as curator at the Pasadena Art Museum, which later became the Norton Simon Museum. In 1973, she wrote:

“We’re going to put down the 19th-century idea that unless you are an easel painter you aren’t an artist. We’re going to accept that an artist is a person who has a definite statement to make, and can make it in any material.”

Now onward to wisdom, and owls!

Four-in-Art

Doleket: Four-in-Art #3 Reveal!

May 1, 2013May 7, 2021 Elizabeth E.18 Comments

Doleket

While no one really knows how the prophet Abraham came to know God, many a rabbi has told a tale, a midrash, about this event. One famous one is how Abraham came upon a castle alight — a castle doleket. According to many, the term doleket has two meanings: one is that the castle was radiating “brilliant light.” But others maintain it was burning, being destroyed by flame. Who is the master of this castle, asked Abraham, that they would build it only to allow it to burn? And so, the midrash goes, he came to know God.

I wanted to convey this idea in my quilt — while something can be in flames, it can also be full of light.

So I made the one-inch timbers of this creation stand strong and straight, then allowed some to fall at an angle, denoting fallen beams. I kept the fabric intact, but left the edges ragged, and threads raveling. The body holds together, but is mounted on a fabric with text, as the written word is both permanent and ephemeral.

Doleket Art Quilt-back

The implications for this idea of doleket are numerous and obvious. We struggle through a searing experience, only to discover new strengths. We recognize that often we make fumbling and brutal mistakes with this life we’ve been given, yet continue to work to make things right. This quilt is less literal than my other two, but I could think about this idea for a long time, and in many of its permutations. I’m glad I had the chance to think about flame, about fire, and to try to put it into art quilt terms.

************

I have other companions in this quarterly art quilt foray. They also have created quilts with the fire theme:

Leanne, of She Can Quilt

Rachel, of The Life of Riley

Betty, from Flickr

Doleket Art Quilt-label

Check back for the next post, describing some of my creative decisions, a veritable deconstruction of Doleket.

This is quilt #113 on my 200 Quilts list.

EPP · Four-in-Art · WIP

This and That for a WIP Wednesday

March 26, 2013March 26, 2013 Elizabeth E.10 Comments

Many thanks to Lee of Freshly Pieced Fabrics for hosting all of us quilters on WIP Wednesday.

Picked up this pattern at the Glendale Quilt Show and slid in one more project before my Spring Break ended. I love the vinyl see-through fronts, so I can find those scissors. . . or spool of thread. I’ve already packed up one with a hand-sewing project.

The project is a little bird pincushion made of felted wool fabrics. Now to find some movie-watching time to work on it.

What else am I working on? Our next Four-in-Art reveal is about a month away, and we had to move the deadline because some of us were panicking. I resolve to not panic anymore. (Which involves getting stuff done early.)

I’m teaching a class for a local quilt shop (if peeps sign up. . .) and while it’s based on the idea of large globular shapes in a roughly floral design, I didn’t want to copy Kim McLean’s fine work.

So I pulled up the original quilt from the 1880’s, and tried to combine elements that had that funky vibe. I just finished it, and after I order some kind of Kona red (do you know how many reds there are in the Kona fabric rainbow?), I’ll start constructing a vaguely Christmasy-Hollandish wall hanging for my sample in blues and greens on a red background.

I’m also working on this one — in my mind. The quilt top is pinned to its backing and laying over the chair in our living room while my subconscious mind figures out a way to quilt it.

I’m trying to be patient. Lollypop Trees isn’t even pinned to a backing yet as my subconscious can only handle one quilt at a time. There are many other ideas working their way forward, but that’s enough for today, I think. Click *here* to head back over to Freshly Pieced and see other fabulous Works-in-Progress.

200 Quilts · Four-in-Art · Quilts

One Black Leaf, deconstructed

February 2, 2013October 26, 2017 Elizabeth E.9 Comments

Inspired by Betty’s photos, I took One Black Leaf outside to be photographed by her sister trees, because of course, with those curves, it’s evident this quilt is feminine.

And just like Betty and Rachel’s quilts share a commonality, this one too shares something with Betty’s–we both used the Martha Negley slices of wood print; Betty’s was in the blue colorway and on the front, and mine’s the green on the back. The binding is from that half-yard of Marimekko I purchased while in New York City last summer with my husband. So far it’s been in two projects and I still have a scrap or two more. This post is picture heavy, as I’m talking about the approach I took to creating One Black Leaf, including technical aspects, false starts and home runs.

So the poem is ringing in my head: one black leaf, one black leaf so I know it has to be a tree with bare branches. I start by ripping off a piece of paper from the roll of doctor’s examining room paper I got a while back. It’s great paper — it holds up to erasing, and is thin, flexible and cheap. Try a medical supply house for yours. I draw a 12-inch square because that’s one of our group’s parameters, and like what we did in high school art class, I draw a grid both on my square and on the illustration I found that I want to mimic.

I draw as best I can (not my strong suit), using the grid to guide me, yet I kept thinking of the espaliered tree I’d seen on the web (last post) and even though death comes around for us all, at the heart of it, I know that love survives even mortality. I color it in with black marker. Because I’m working on thin paper, I protect my cutting mat with scrap pieces of white paper so no bleed-through. I flip it over and color it in on the back, too, because I want to fuse this onto my fabric and know it has to be backwards.

I lay the Steam A Seam down, ~~figuring out which of the papers should be taken off first~~ completely ignoring their instructions to determine which is the pressing paper and which paper is to come off first. I got lucky. Reminder to fuse the whole design down onto the black fabric before you start cutting. (Of course I did that. Not.) Sigh. I fused the design to the Steam A Seam, then started cutting it, before I remembered you aren’t supposed to do that. So I stopped, laid out the traced design on the Steam A Seam onto the black fabric, THEN cut it out.

I had some problems. Turns out (after a quick search on the web) that Steam A Seam “wears out” or loses its ability to adhere after it has been in your drawer for a while. Since I know this batch is at least 10 years old, I’m in a world of hurt. Who wants to cut out those teensy branches again? So I call the Quilt Rescue squad. . .

. . . and first try placing the paper release sheet from the other part of the Steam a Seam and pressing it lightly to make it stick back on the teensy branches. Worked okay, but there were still some spots that needed some help. Then I remembered that once, in a class with Elinor Peace Bailey, she used a plain old glue stick to put things in place, giving it a press to disperse the glue. I did this. I had a few problems getting the tree back into place, so I laid my white fabric down onto my design, and arranged the branches until they matched the original design. And by the way, it took me longer to describe all of this than it did to do it.

Your takeaways from this section:

1. Read the directions.
2. If your Steam A Seam is older, first fuse it back onto their release paper with a warm iron and light touch. And from now on, store it in a plastic bag.
3. Use your design paper to help you get the arrangement into place.
4. Use a glue stick if you still need some sticking down. Press with a warm iron to disperse the glue.

I decided the block needed a bit more stability, so I ironed on some lightweight interfacing on the back of the entire piece (I did this also for the last art quilt I made, as I had seen it mentioned time and again in the Twelve by Twelve book. If you don’t have this book, you should.) Then I set my zig-zag stitch for a narrow satin stitch, then went all around my tree in black thread. I referred to my Jane Sassaman book where she talks about if you have it really close, it frames it, and if you have the zig-zags slightly loose, it blends more. I was somewhere in the middle.

She also cautioned the quilter to “take it slowly” and to take our time when doing stitching. I need to have that tattooed on my forehead. I think if my Steam A Seam had been fresh, and I had been more careful about getting it to stick, I may have averted some of those sticky-outy bits of fiber from the edges. But because this tree is going every which way, I think some was inevitable. Small scissors took off most of them.

Jane Sassaman also outlines her pieces with heavy thread. I decided to use green for the inside curves and pink for the outside curves. Here’s the pink. There was a ton of tying off on the back (as I pulled all threads to the back, tied and buried them), but I like how it gave a little pop to the quilt. I used pinkish King Tut (from Superior Threads) and their Poly-Quilter in green, which I understand is being discontinued (but I still love it). Use a size 16 topstitch needle which has a larger eye, go slowly and you should be fine. I use their Bottom Line in my bobbin — it’s my personal recipe for quilting success — and used what was close in color as I occasionally I like to use what I have.

OneBlackLeaf detail1

(Another view, after the quilting was finished)

I had used some white fabric from one of my trips to Germany. It has a heavy damask woven design of flowers and I didn’t want to completely obliterate it with the quilting. I laid some wax deli sheets over the tree and using a Flair pen (it won’t go through the paper with its soft tip), I auditioned some quilting ideas. I’m not a really fabulous FMQ (free motion quilter) but I can do some. I decided on leaves.

I liked the idea that while the black leaves on the tree are for us, there are others that have gone before who are still around us. I can’t bear the thought that we all just go “poof” at the end of life, and judging from the memorial quilts I see, others feel the same. Of course, a lot of these ideas are informed by my personal spiritual/religious beliefs as well. I went at the quilting–doesn’t take long if you are doing a small quilt (another reason why I like this size) and in no time I was done. And yes, it kind of obliterated the design in the fabric.

Next big hurdle, which you wouldn’t think would be a big deal, is to trim. It’s really a decision on how to frame it. That blotch in the lower right-hand corner of the untrimmed piece? Where I tried out my zig-zag stitches and also left a burn mark with my iron. Luckily it was cut off.

I have a method for hanging these small quilts which involves a dowel (photo at the end) but I have to put in corners to hold the dowel. That square is about 2 1/2″ in dimension; fold it in half and pin it to the upper right and left corners.

My standard small-quilt binding: 2″ strips, folded in half, sewn to the upper and lower edges. Trim even with the edges and press out away from the quilt.

Repeat with sides, but be careful as you trim even with those sides. Press away from quilt.

You’ll need to remove any bulk you can in a binding this tiny, so trim off a little of the corner and the bits of seam allowance as shown. When I say not to cut anything off the binding strips, I mean the business part of the strips–the stuff you’ll need to fold over. Just follow the diagram as I think my written description is confusing.

Then since my assistant left for the day, I had to use pins to hold things in place. Fold in the sides (1), give a little push to the upper edge to fold in the bulk (2), then fold down the remaining strip (3). If you go in this order, you’ll always enclose your raw edges. If your raw edges are still showing after the folds, you’ve reversed it and folded in the top/bottom first. You’re smart. You’ll figure it out.

My friend Tracy taught me ages and ages ago that I didn’t need to pin or clip around the whole quilt, that I could just do the corners and fold in the rest as I stitch down the binding. I do that even on my larger quilts.