I came home from Zion with (17) 11″x11″ square paintings of the fractal landscape I found right at my feet. I called them “The Rock Textures.” That is, on a day when I wasn’t satisfied with a landscape painting, I cast about for something else to do. I went from the macro to the micro. Then I began to think of the squares as a kind of quilt, a fading patchwork of my memories of the colors and textures.Inspired by an exhibit I saw when I went to Southern Utah University to give a talk abo
ut the residency, I’ve also gone to friend Nancy Cluts, a quilting artist. Together, back and forth, we’re collaborating on a fabric quilt of same. She’s working on the interstices between the rock squares. We’ve talked about how water shapes all the rocks you see in Zion. I love the paradox of something soft and warm representing cold, hard stone. I can hardly wait to see the next iteration.
An update, May 2013:
Nancy continues to work on fabric versions, but I decided to experiment with a paper version. Thanks to the experts at Dry Goods Design, I used 2 layers of a non-woven viscose intended for pattern-making. I wanted to make a kind of gridded window mat to act as a frame for 9 of the paintings. After a number of tests on small squares and much deliberation, I decided to add color. It took watercolor paint beautifully, still transparent enough that the covered edges of the paintings showed through. Then I became worried the pattern paper would not be stiff enough to keep from bowing from the thicker watercolor paper.
So I soaked it in Golden’s GAC 400 diluted with glazing medium (thanks, Barbara DePirro) and added another 2 layers to the inside of the sandwich. I traced the locations of the painting squares and trimmed out the windows in the top layer, then cut slits in the back layers so I would be able to insert the paintings into their “pockets”.
This is really where my trouble began, because the back layers were now too stiff to go through my home sewing machine and the slits gaped open and caught on anything nearby. Luckily, Nancy rescued me with her long-arm quilting machine, and I discovered heat-reversible Framer’s Tape II for closing the slits. I then made a edge binding out of unpainted “fabric” and considered it good enough. It won an award in a local competition.
I think I’ll be doing this again, having learned these lessons:
- Don’t use fabric stiffener until after it’s put together
- Don’t cut into the pockets until after it’s put together
- Review how to make a corner on a bound edge before binding the edge 😉
- I will consider using lightweight fusible interfacing to keep the top layer stable, with luck, still transparent enough to see the edge of the paintings underneath.