Saturday, January 21, 2006

NJ trip and a revelation

I knew it was going to be a good day when I saw the sunrise from my back yard. On Thursday I drove up to Rayna's house to visit with Linda from Belgium and Helene from Paducah and the rest of Rayna's crit group. Linda is in town because she has a piece in the SAQA at Noho show and came over the pond for the openings. Helene and I came because it was a good opportunity to get together with the gang.

This is a brick wall at the train station. I think it's going to become a thermofax screen - it's a very interesting design.

Thursday evening we took the train into NYC, went to dinner, and then to the reception. The gallery is small and there are only 12 pieces in the show, and as usual there was at least one that was taking up my spot :) Two pieces had already sold. Thursday night is gallery night in Chelsea, the area around the gallery, so there were lots of people going from venue to venue seeing what's there and eating the free food.

Friday morning before I left to come home, Rayna gave me a quick demonstration on doing soy wax resists. Oh my, I bought an electric frying pan on my way home and will be ordering soy wax real soon, I think.

Meeting with Rayna's crit group was energizing. Each member had work to share and none of it was ordinary. I brought the piece I've been working on and when I held it up the sun coming through the window backlit it. Oh my, it looked cool!

You can see all the overlaps of the fabrics and how they make a secondary design. I think it's particularly interesting in the yellow section. I had planned to layer this with batt and backing and do the normal quilting thing, but seeing this in a new light (!) has made me stop and think about that. I want to preserve that interesting design but I haven't a clue how to do it. Leaving it unbatted might work, but it would have to be backlit to get the full effect. Any suggestions?


Art at Work said...

I agree. Hanging a quilt top in front of light leads to a whole new outlook.
Cathy, this piece is far more chromatic, but it brings to mind some of Lisa's work. You could
use the pic as a design start off point for another piece. I agree that what happens with the seams all lit up is really interesting from a design objective, sort of like a hidden code. BTW the original is also really beautiful and needs to be quilted.

Claire said...

perhaps you could preserve the design by dyeing up some darker fabric and fusing them in the shadow areas... not sure that makes any sense

Frances said...

wow it does take on another view when lit from behind, perhaps a window quilt backed with a sheer,

I like the idea of using the photo for a new quilt,

Mrs. Mel said...

I agree with Claire. The shadow shapes are an accent to the lighter value of the surface pieces.
I have seen this used to great effect in Jane Sassaman's work. Outline and more outline around the original shape, giving dimension to what was once flat.

teri springer said...

Cathy, it is way too cool. I saw an all white quilt that relyed on the seam allowance for the design. It was unbatted and hung without anything behind it. It did have a solid (also white) back. The maker had to plan very carefully how she pressed the seams. It looked like a cathedral.....


Gerrie said...

That extra dimension just makes that quilt - wow!

Lisa Call said...

That brick wall is way cool.

As I use a lot of pastels I can see the seem allowances on many of the quilts before I do the basting and quilting. I've always thought they looked cool but have never done anything with it. Looking forward to what you might come up with!

Jen said...

Hi Cathy, what about using organza to back it, or as batting? That would preserve the backlighting effect. If I did that I would hand quilt it and the colour could make a great secondary design on the back.

Helen Suzanne said...

I have the same effect on a 2 panel quilt my Mum made for me... I use them as curtains interior curtains with a separatly hug warmer layer behind. The sun light shines through them beautifully showing up all the design overlaps.