focus on something else

I'm reading many things these days. Political rants, financial analyses, artistic journeys, poetry, the Quran, the New York Times, Smithsonian magazine, Harpers and science fiction by Phillip K Dick. A friend suggested My Beloved World by Sonia Sotomayor. I may read that after I finish The Hate U Give by Angie Thomas. I'm looking for a simple, devil-take-the-hindmost novel to immerse myself in too. Perhaps a friendly slice-of-life novel would be a good escape?

Escape, one in the Silent Witnesses series of Stones Who Might Talk, Paula Kovarik

No wonder my art flutters from one point of view to the next. Cool and composed to frantic and obsessive. This is a good thing. And this is not a good thing.

Testing stitching on backing fabric. A mindless task that feels soothing.

Testing stitching on backing fabric. A mindless task that feels soothing.

Fractured focus breeds anxiety, allows for mood changes, builds new vocabularies and urges me on. The pile of trials on the table are companions on this silent journey I take each day.

Second in the Chaos series. I'm a little tense sometimes.

Anyone have a book they'd like to recommend?

A treasury of images

I have this lovely book on my desk. I spent two hours paging through it yesterday. I've done this several times since it came in the mail. Each time I find yet another page I want to tag and remember. Each time I end with a feeling of awe and inspiration. These artists are GREAT. And this book shows them off with gusto. There are 126 artists in the book — colorists, story-tellers, modernists, painters, quilters, dye-masters, fearless truth-tellers and emotionally vocal ARTISTS. That's Artists a big A.

This worthy book of art quilts written and curated by Martha Sielman is a must have. That cover image is from Pat Pauly, a master of dyed and printed fabric.

The curator and author of the book, Martha Sielman, is a tireless advocate for this art form. She is the executive director of Studio Art Quilt Associates (SAQA), an international organization of artists working in this medium. Her efforts spotlight 29 artists in more detail while also compiling a set of galleries that expand her narrative.  I am profiled in the book and know that it was a significant honor to be included.

There are 300 full-color, full-throttle, full-frontal images that will take your breath away.

I spend most of my time talking to myself while I work. It's a conversation that can be non-linear and confusing on some days and on point and frenzied on others. The work follows my thoughts up alleys and down valleys. Sometimes I come up with something that might make sense to others. Emerging from my cocoon of conversation I am energized by other artists. Especially artists who work in cloth and thread.

Martha has given us a way to see other artist journeys through this work. It's the next best thing to a round table discussion. I recommend it to all seekers. If you purchase the book through the SAQA website you will receive 5 notecards featuring works by SAQA juried members and 45% of the proceeds will support the organization.

What could be better? Order your copy now.  Click here.

I'd love to bring my favorite artists together for a discussion on why we do this work.

I'd love to bring my favorite artists together for a discussion on why we do this work.

one stitch at a time

It's International Women's Day today, a day to reflect on how many stitches it takes to keep this world together. And how many women have nurtured, built and expanded the meanings of love and compassion in the world. Stitch by stitch, tear by tear, step by step. It requires perseverance and unending faith that we can and will make it better. History proves that with each dip into the depths there are resilient wills that move us forward. There are women who walk on despite overwhelming odds.

How can I contribute? What does my practice of art do to expand that goal?

I've been thinking about texture and how hand stitching is so different from machine stitching. The commitment that hand stitching requires is often too onerous for my sense of collapsed time. There are simply not enough hours in each day. Then I relent and ask myself why I think that getting a piece done in a timely manner is more important than just working on the piece regardless of how much time it takes.

So why do we think that these depths can be fixed in one news cycle? It's clear that we are a flawed species, still learning how to bring light instead of darkness to our world. How many artists, politicians, scientists, mothers and leaders will it take to change the course?

I've been working on Fallout for over two years. It is on my table again in response to our world leaders rattling their sabers. AGAIN.  I am adding "suture" stitches to each longitudinal line on the map. They are almost invisible but satisfy my need to add depth and thought.

I estimate that it will require about 1600 more stitches.

We are all witnesses to what is happening in the world. We can choose to persevere or we can bury our heads and deny the threats. As an artist I am compelled to speak, to work harder, to trudge on despite a feeling of hopelessness and loss. My stitches are adding to the voices that are shouting, crying, and laughing out loud. It's not much, I admit. But it's something. I am doing something to open a dialog. One stitch at a time.

These 9" x 9" studies allow me to experiment more freely with texture and stitch. And now that I have over 20 of them I can start to look at them as a body of work rather than experiments. I'll make one of these each week to continue the collection and plumb the depths of their variations. I see them as snapshots of human interactions.

How many solutions are out there? Can our world leaders find new ways of bringing light to the world instead of repeating the dark parts of history?

It is International Women's day and I hold faith in our wills, as women, to make this world a better place.