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.
Black White and, Gray, Art Piece # 111
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.
Curved Boro Stitching
Fish Tale
Silk Organza Backing and Raw Edge Binding
A Boro Collage, Art Piece # 110
Gallery of A Boro Collage, Art Piece 110 Design Elements
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.
Let’s celebrate! Well, not quite yet. Before we pop the cork on the champagne let’s turn the calendar pages back a bit.
Not too long ago I made the choice to turn the wheels of my art cart in a different direction. The course change meant giving up my customer-based longarm quilting business for total focus on my own endeavors. The decision, although very hard, was a longtime in the making.
As was shared in a previous visit, selling my art to fellow enthusiasts meant finding an outlet for the transactions to take place. The location I selected was Raven’s Wish. Just because I chose them didn’t mean they would mutually agree. On a very exciting day in January, my husband and I packed items from my portfolio into the truck of our car and headed to the gallery. Upon arrival I popped in to see if the owner, Alicia Reid, had time to visit. Alicia was currently visiting with an individual but was willing to divert her attention to my direction. After returning to my car, where my husband was patiently waiting, we retrieved my belongings and proceeded inside.
Shared with Alicia were samples of my small fabric art pieces, my meditative hand stitching items and my newly created greeting cards. Alicia carefully examined the items before her. As she pondered I presented my application and inquired about the jury process. With a smile on her face she announced that the jury process was complete. She was more than happy to display selected pieces of my art in her gallery and offer them up for sale. I’m sure you can imagine the elation I felt. How wonderful it was to have someone give value to my art. After mutually agreeing on pricing we entered into a contract.
Alicia now has nine of my polyester stretch velvet projects, four of my meditative hand stitchery pieces and three of my improv fabric art creations. All of the above are available for purchase on a commission basis. Purchased outright were twelve of my greeting cards.
Tuxedo, AP # 84
X’s and O’s, AP # 75
1973, AP # 74
Raspberry Lemonade, AP # 152
Rolling Down the River, AP # 155
What’s Not to Like, AP # 159
Some of the items on sale at Raven’s Wish
During our discussion I mentioned the solo art exhibit I was privileged to experience at Blue Bar Quilts last fall. If Alicia was aware of the event I thought it would give her the opportunity to visit my blog and peruse the other items in my portfolio. At the mention of my previous event Alicia then offered me the opportunity to do the same at her gallery. After discussing several options we decided to schedule a show for the month of August. I think my heart skipped several beats when Alicia made the suggestion. Internally I was flabbergasted! I’ve been happily working with fiber arts for decades always wondering if it was worthy of appreciation. Having another well-known establishment acknowledge my endeavors was something I had never thought possible.
When I left Raven’s Wish, on that very memorable day in January, I believe I floated out the door. My decision to change course had been validated. Along with it came an even stronger desire to expand my portfolio. Alicia’s nod lifted my spirits and gave my ego the boost it desired. I know that life is not always filled with champagne bubbles and roses but for now I’m going to bask in the glow of this sweet, sweet experience.
