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An Archaeological Site

When quizzed about the subject matter I choose to illustrate with fabric and machine, I explain, I frequently find myself drifting in many directions. I attribute the nomadic intensity to creative curiosity, a need to carefully observe the subject before my eyes to see possibilities. Although I prefer animated themes, I also enjoy interpreting more challenging landscapes such as my photos taken at Bandelier National Monument in New Mexico.  As a design idea begins to spark I combine my imaginary skills with reality, which allows me to begin to develop more a complete design layout.  In the case of Bandelier , it wasn’t enough to “reconstruct” the rugged canyon dwellings of the Ancestral Pueblo people, there was a requirement to include humans too.

Bandelier 32½" × 41½"

Why the Lion Hunt?

Three visits to the Assyrian gallery in the British Museum (London, England) introduced me to another area of historical inquiry. On display in that gallery are the most magnificent and intriguing panels carved from stone by artisans working 600-900 years before Christ. The many panels depict life in the Mesopotamian valley showcasing not only Kings and gods but the people, peasants, slaves, fishermen, and armies as well as the animal and plant life of the era. The totally captivating visits influenced me to try to recreate with fabric, ink and thread the action and spirit of one panel, which heralds the exploits of an 865 B.C. Assyrian king, Asburnasirpal, hunting desert lions.

Lion Hunt, 865 B.C. , 86 ¼ʺ w x 48¾ʺ l

"Rush Hour" Inspiration

This was a piece commissioned by a couple who have a lovely summer home surrounded by a gorgeous stone wall on Martha's Vineyard, MA. The entire scene was created from many photos I took from the terrace of their home which overlooks Vineyard Sound. The amazing sunset really did occur. We were speechless because we could not believe what we were witnessing that special sunset evening. Simple oohs and ahhs didn't describe it. The colors were unbelievably bold, ranging from neon yellows, brilliant oranges, pinks, purples, dark navy blues, bright cerulean blues and some other hues having no names. At the moment, knowing I was engaged to do a commission, I told my hosts, this is the one and I relied on the photos to re-create the bold emotions we all felt that evening.

We were looking over the stone wall as we watched the incredible light show on the horizon and, of course, the wall had to be featured in the pictorial. The entire wall hanging, 62" x 45", was accomplished by machine applique with turned-under edges, no fusibles involved, and machine quilted to finished it.

Rush Hour, 62" x 45"    SOLD

The imaginary cat was added because the owner had bought 3 other small pieces on mine which featured a travelling white cat situated in various places around the world and these were hung in a nearby bedroom. Knowing Rush Hour would be hanging in another bedroom, I figured the white cat might just stroll down the hallway, hop up on the wall to see the sunset. This bedroom was chosen for Rush Hour because it is the only room in the house which didn't have a view of any sunset, but now it does.

"The Quilt Show" Experience

It was a friendship that began over the blasphemous tearing of fabric strips, whirring sewing machines, music and lots of laughter. In the time since, Ricky Tims has become a quilters’ rock star. He has also admired and supported my work and such approval has provided me encouragement and opportunities. I have been blessed by having Ricky among my quilting friends and I am grateful.

Eight years ago Ricky and the fabulous Alex Anderson teamed up to assemble a highly successful on-line venue, “The Quilt Show.com”, which provides all the latest in quilting trends featuring quilting artists, their knowledge and experiences. Although I no longer teach or produce patterns, I work in one area that warranted an invitation to film an episode with Ricky and Alex. I do commission artwork and the logistics of commissions was the focus for my 
interview with Ricky and Alex in late March 2015.

My episode #1612 was posted on line June 8, 2015 (thequiltshow.com). I can proudly report that my experience working with Ricky, Alex and their entire staff was a fabulous one which not only introduced me to a real studio set, cameras, crew people and all the many activities that buzz around as the crew produces the show, but the occurrence also taught me a few things about myself.

The chance to accept the invitation and its follow-through reinforced my skills for analyzing the probabilities, 
organizing how to prepare for the likelihood of handling tasks and questions presented by the hosts and their staff, and addressing the requirement to get my act together in order to avoid embarrassing any of us. Everyone was extremely helpful in preparing me, and included me by working with suggestions as the segment was planned and carried out.

  

The entire trip to Denver from start to finish was positive, and especially rewarding in that it validated my artwork, my direction and my talent. No small gift to have that kind of reinforcement presented from time to time to keep an artist feeling confident. I feel thankful for having come in contact with so many friendly professionals of the filming industry.

During the filming of #1612, I presented a photo of a sunset I had taken and was working with as a commission for clients in Massachusetts. The work is finished and is presently hanging in their home on Martha’s Vineyard. 

Rush Hour  62" w x 45" l

    

Saying Goodbye

One of the emotions an artist faces occurs the moment her art passes into the hands of a new owner. I want to sell my work and yet, at that special moment, a small lump forms in the throat. This was true for me at the recent sale of Indian Blankets because a phenomenal experience was the inspiration for the work.

One beautiful summer day, my husband and I were driving along the road into the Wichita Mountains Wildlife Refuge in SW Oklahoma. We were hoping to catch sight of the free range native animals that roam wherever they please over the 59,000 acres of the refuge. It is quite a thrill to see groups of Texas longhorn cattle grazing in the distance, or see a crowd of bison waiting their turn to take a dust bath in a wallow. On this day, I was elated to find a number of bison grazing nearby.  

Ahead of us was one gigantic bull munching grass along the shoulder of the road. I rolled down my window and prepared my camera as we very slowly inched up alongside of him knowing full well how unpredictable and dangerous bison can be.  He was as big as our SUV. We moved very quietly along his side and he took absolutely no notice of our presence.  I could have reached out and scratched his head if I dared. I settled for hearing him breathe as he snatched up bits of prairie grass and shook the flies from his spectacular head of rough hair.  It was a jubilant high for me because a quilt was inspired at that very moment.  

I did not take one photo because I wanted to remember the entire encounter rather than have it miniaturized and defined by a camera lens. The image of the bull is deeply imprinted in my mind. Upon return to my studio, Indian Blankets was started.

Indian Blankets, 51" x 64"  SOLD

I designed the bull eating gaillardia, rather than grass, because the flower is commonly called, Indian blankets, is Oklahoma’s state flower and grows wild in the refuge.  The bison remains a strong animal figure because the species historically sustained our Native Americans in so many ways. And I have a great fondest for these spectacular creatures, Bison bison. 

Rabbits in the Wild

Wild rabbits abound in the woods and fields nearby and it is always exciting to flush one or two. I

imagine how hard their hearts flutter from the fear. It is not unusual to stumble upon a pair of rabbits that huddle close together, holding absolutely still, trusting the tall grass to hide them. And then, they bolt and are gone in a flash!

Wild Rabbits
24" × 18¾"
SOLD