Quite some time ago I participated in a class taught by Pam Beal at Woodland Ridge Retreat. The class Minimal Design, Maximum Impact focused on creating fiber art pieces that use a limited pallet of colors and/or design features. Today’s reveal has a limited color pallet but definitely not a limited number of stitches.
Testing 1, 2, 3 was assembled from test samples of four different construction methods: fabric strip manipulation, triangles, fractured circles and wedge piecing. All four were merged together to form this art quilt. The new creation was then surrounded by a border of black cotton fabric. Added for embellishment were four wool circles and a myriad of hand quilting stitches. Perle cotton was the primary thread used. To complete the fiber quilt an envelope of black cotton fabric was added to the back along with a hanging sleeve and a label with identifying features. Measuring 20 1/4” x 12 1/4” Testing 1, 2, 3 may be minimal in size but nowhere near minimal in impact.
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What do you think of when you hear the words relaxed fit? For me it conjures up a comfy pair of denim blue jeans. Now what do those two words have to do with the art piece I am about to reveal? Read on and you will see.
June, 2019 I had the opportunity to attend QSDS (Quilt, Surface and Design Symposium) at the college of arts in Columbus, Ohio. It was the second time I attended their summer program. One of the instructors I chose to study under was Lisa Binkley. Lisa is a fiber artist from Wisconsin. She is well known for her eco-dyed fabrics, elaborate beading and hand stitching. Even though I know Lisa personally and can visit her locally I decided to attend her two-day class.
During Lisa’s class she discussed the characteristics of a Boro item, shared examples of its application and gave demonstrations of the stitching. During the remainder of the class we applied our knowledge by creating our own brand new art piece.
Along with items from our own inventory we were encouraged to include specimens from Lisa’s array of fabrics. One of the items I decided to include was from a pair of my old blue jeans. The jeans, well-worn and tattered from hours of use, had the label containing the trade brand of Relaxed Fit. Lisa often uses labels from discarded clothing to embellish her projects. Following in my teacher’s footsteps, I too decided to do the same. The label caught my eye because it reminded me of the relaxed nature (raw-edged appearance) of the scraps that would potentially be added to my piece. From that moment on I just knew it would receive a predominant place on my art quilt.
Relaxed Fit was assembled using pieces of denim from my old blue jeans (you can still see the stains from hours of gardening on my knees), sections of eco-dyed fabrics I made while attending one of Lisa’s other classes, scraps of silk organza leftover from previous projects, segments of lace harvested from larger items, fragments of old neck ties, hints of the old quilt secured on the back, and kantha cloth I purchased from the internet (kantha cloth is fragments of old saris layered on top of one another then hand-stitched together). Sandwiched beneath my fabric design is a section of an old quilt I rescued from oblivion years ago.
The many layers that comprise my fiber art piece were hand-stitched together using complimentary colors of Perle cotton thread. No attempt was made to hide knots either on top, inside or on the bottom of my art quilt. In some places threads were deliberately unraveled and left to dangle freely. As you peruse the surface of the quilt you will also discover lengths of Perle cotton that extend beyond anchoring knots. They too add elements of design not seen in a typical quilt. Surrounding all four sides is a binding of black cotton fabric.
A glance at the back of this amazingly unique art piece reveals the erratic twists and turns taken by my stitching. Without the distraction of multi-colored fabrics, the individual stitches are allowed to exude their own art element. Also included on the back is a fabric sleeve for hanging as well as a label with identifying features. This unique one-of-a-kind fiber art piece is incredibly soft. The nature of the used fabrics combined with the backing of the old quilt meld together to create the pleasing softness.
All of the distinguishing features of Relaxed Fit, Art Piece # 112 have made this an art piece that outshines any other.
This fiber art piece has made a wonderful addition to my portfolio. I am so grateful that you were here to join in my reveal.
Many times, after learning a new skill, I find myself making multiple fiber art pieces using the same techniques. Today’s reveal is an example of that tendency. Black, White, and Gray, Art Piece # 111 was assembled using the Boro stitching lessons I learned through Maday Delgado. I had the wonderful privilege of taking one of her classes in March, 2019 at Blue Bar Quilts. The First item to result from her teachings was A Boro Collage, Art Piece # 110.
This second specimen focused on the color pallet of white, black and gray. Having never made a fiber piece with just those three colors, I decided to use the concept on this item. Black, White andGray, just as with A Boro Collage, was created from raw edged fabric scraps. Except for a few synthetic fiber fabrics most of the scraps contained within this art quilt are 100% cotton. The scraps vary in size and pattern. The Boro stitching was applied with similarly colored Perle cotton thread using somewhat parallel lines. Almost all of the knots used to secure beginning and ending points in the stitching are displayed on the front of the piece. Occasionally a tale of extra thread was left to dangle freely; adding an unexpected element of interest. The outer edges of my art piece were surrounded by a white on black cotton binding. On the back is a fabric sleeve for hanging as well as a label with identifying features. The varied colors, stitching and fabric designs give this fiber art piece a one-of-a-kind appearance.
I hope that you enjoyed reading about and seeing this lovely addition to my portfolio. Inspired to share your thoughts? You can express your feelings by adding a comment.
I have had so many wonderful opportunities to learn from the experts in the world of fiber arts. Just over one year ago I attended a Boro stitching class taught by Maday Delgado. Boro, according to Wikipedia is:
Boro is a class of Japanese textiles that have been mended or patched together. The term is derived from Japanese boroboro, meaning something tattered or repaired. As hemp was more widely available in Japan than cotton, they were often woven together for warmth. Hemp usage was necessitated by the fact that cotton, a tropical plant, could not be cultivated in cold areas such as the Tohoku region, especially the northernmost region of Aomori Prefecture. Furthermore, during the Edo period, fabrics made from silk and cotton were reserved for only a select portion of the upper class. Boro thus came to predominately signify clothing worn by the peasant farming classes, who mended their garments with spare fabric scraps out of economic necessity. In many cases, the usage of such a boro garment would be handed down over generations, eventually resembling a patchwork after decades of mending.
The class was held at Blue Bar Quilts (one of my favorite fiber art vendors). Maday’s warm and approachable personality make her an inviting person to learn from. Our class was filled with individuals, of all skill levels, eager to learn her approach. I thoroughly enjoyed participating in Maday’s class. The techniques I learned were combined with my previous knowledge to create the art piece I am sharing with you today.
Known as A Boro Collage, Art Piece # 110, this item incorporates scraps of fabric collected from the class as well as my own inventory. The scraps, radiating from warm colors on the left to cool on the right, were layered over a white cotton batting. All of the stitching was done on just those two layers. Maday believes that the back of a hand stitched art collage is just as beautiful as the front and as a result should not be hidden behind opaque fabric. Therefore my silk organza backing was not added until my piece was complete.
For most of the stitching I used a Sashiko thread. This thread is made from a multi-strand, tightly twisted, very soft, heavy-weight cotton. The strands cannot be separated as with regular embroidery floss. The thread, when subjected to moisture will expand slightly making it less likely to pull out. You can purchase Sashiko thread in a variety of colors.
As you examine my art piece, notice that the rows of stitching do not all extend from one edge to the other. Some of them form angular shapes while others create a curved motion. Also of interest is the exposed knots, the dangling lengths of thread and a most unusual stitch design known as Fish Tale. The dangling stray threads and exposed knots are design elements that Maday believes can add interest to your art piece. A Fish Tale is created using individual lengths of thread applied in rows of stitching that arch up to form a curve and then return back down. Extra thread is left dangling at both the beginning and ending points of the pattern. I’ve included a photo of one of the added Fish Tales below.
To give my art piece a more rustic appearance I used an unusual binding. Once my stitching was complete raw-edged scraps of fabric were placed right side down on top of my art piece. A row of machine stitching was used to secured them. The scraps were then folded to the back and stitched in place with Sashiko thread.
I’m so happy you were able to share in this reveal. I hope that you enjoyed reading about and discovering the uniqueness of my fiber art piece and that you will feel inspired to leave a comment.
Creating art from polyester stretch velvet is very different; especially when 100% cotton is your fiber of choice. Over the last thirteen posts I’ve been sharing snippets of my love/hate relationship with this plastic material. This is my fourteenth and final post about the subject. Let’s take a look.
May, 2019 seems so long ago but that’s actually when this adventure began. Woodland Ridge Retreat was the location for the mind-bending class taught by Susan Lenz. While my anticipation was very high I never could have imagined the experience I was about to have.
It’s So Different, Art Piece 109 measuring 7 3/4” x 9 3/4” was assembled from polyester stretch velvet, felt and cotton thread. Details about the construction process can be found in my previous posts.
By the time I started this piece I was very familiar with Susan’s technique. My grasp of the concept made it easier to focus more on the desired outcome and as a result achieve a far more interesting product.
Some of the traits that make this item different from the other members in the family are:
Rather than similarity sized components this small art piece includes a variety of sizes and shapes and
Most of the felt was melted away which makes the cotton thread appear more predominant.
I am very pleased with with how this item turned out. To emphasize my appreciation, although it is not shown here, I have protected it inside a shadow box frame.
Reaching the end of a series is both exhilarating and sad; sad because it meant the Susan Lenz class had come to an end and goodbyes are always hard; exhilarating because I can finally move on and share newer accomplishments.
I hope that you have enjoyed reading about and seeing this unusual grouping of art as much as I have. If you feel inspired to share your thoughts, simply add a comment to my post.