Second script quilt in progress. Something about desire and darkness.
BACKGROUND — Two pieces of fabric dyed with onion skins over winter break. The lighter one is a vintage napkin, the darker one a piece of calico, which I gessoed a page of a book to, and then tore off.
Wrote on latter with pencil (excerpts from 1980 journal — still on my ‘kick’ of looking at what I was expressing at age 22, after being so moved by Sabrina Ward Harrison’s book, Spilling Open, compiled when she was 22).
BACKGROUND CURSIVE — I used two excerpts from journals — more from 1980 journal and some from pages written in 1990 or ’89, the time when my husband and I were first getting together.
QUILT BACK — I used a piece of a discarded business jacket (wool-flannel, gabardine?) of my husband’s. The piece spans the back seam, including the vent — which created lumpiness in the middle, which I tried to welcome.
Bobbin tangle on the word “heart” — which, to my credit, I viewed with curiosity instead of dismay.
FIGURE — a color-xeroxed, reduced ad for something (men’s fashion? fragrance?) — paper stitched to wallpaper sample. Originally, I stitched it to back of another altered page, hoping to use the image as line-reference only, but when I turned it over to ‘wrong’ side, I fell in love with contrast of ecru thread and dark figure with highlighted hand. Copyright issues.
PRINTED TEXT — (not the pastelled one, which is a crap mystery) is from an old farming manual, intended to help people grow a little food. The reference to ‘seeds and seeding’ adds to procreative aspect of image — i.e. a virile boy/man with pants undone.
NEXT? spackle? plaster? gesso? oil pastels?
In a very real way, this piece is a tactical maneuver to avoid piecing the Global Warming quilt, which, by the way, has assumed hated-clutter-status by occupying (along with machine, ironing board, cutting board and rotary cutter, and bins of fabric) too much of family room. So, first things first, in this case, means back to the big quilt.