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.
Late in 2018 I received an invitation from Gael, the owner of Blue Bar Quilts in Middleton, Wisconsin, to display my art quilts in a solo exhibit. My response, after overcoming the shock, was absolutely! September of this year was set aside for my event. Yesterday the two of us sorted through, organized and put on display 64 of my art pieces. The experience was exhilarating!
I am overjoyed to proudly announce the official opening of my solo art exhibit titled Transformation. The event will run from September 1, 2019, until September 30, 2019. A reception with refreshments will be held on Saturday, September 14, 2019, from 1:00-4:00 p.m. Please stop by on the 14th to say hello and share in my excitement. I would love to see you. If you are able to stop by during the exhibit, please don’t forget to sign my guest book and leave a few comments.
Before departing I must say thank you to the individuals that have had an impact on my art. First on my list is Gael from Blue Bar Quilts. Thank you Gael for giving me this awesome opportunity! Your interest in my art has brought me so much joy! Next I would like to extend appreciation to the individuals that have had a profound impact on my journey. They are Rayna Gillman, Lisa Binkley, Judy Coates Perez, Pam Beal, Victoria Findlay Wolfe, Susan Carlson, Cindy Grisdela, Heidi Parkes, and Maday Delgado. Your amazing talent has helped me to expand my horizons and become the artist I am today. The last and most important person is my husband Gary. Without his unconditional encouragement and financial backing I never would have had this opportunity.
Now, make plans to visit Blue Bar Quilts some time between September 1 – September 30, 2019, to observe my solo art show and of course do a little shopping.