Marsh Morning Mists


 I sent off my quilt, Marsh Morning Mists, to the Carnegie Center for the Arts for the annual Form Not Function Exhibition of art quilts opening in May.  I am fond of the various transparent layers of imagery in this quilt. The heron images came from a photo I took at the Bodega Headlands in California in the winter of 2011.  It was a very foggy day and the bird’s image was not very clear.  I cropped it, selected out part of the bird, transformed it into a charcoal sketch, and incorporated different sizes and transparencies into the background wetlands ‘paintings’.


Marsh Morning Mists
I enjoy using otherwise not very intersting photos to make sketches that I can use in my layered imagery–whether digitally or physically layered. Some of the birds are layered into the printed composition.  Some are printed on organza and applied to the printed surface.  Some are almost not seen and some are suggested with stitching.  The more you look the more birds you will find.
I used one of my standard techniques of severely elongating a composition. Each of the five horizontal panels started from a 12″ x 12″ square, but was elongated into a 12″ by 40″ rectangle.  The resulting pixelation from this extreme stretching creates a more painterly surface.

Something like this:


became this (with birds added after stretching):


There is lots of free motion stitchery, programed machine stitches, and even some digitized wavy lines in this quilt.  A detail shot shows some of this.

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