Mother Lode Final Stage

I have binding and some needle sculpting to do but they're virtually finished so I can show you. They will be mounted on separate cradle boards as presentation. Everything you see on them is a form of gold, either in metal, color or gemstone.

As I was looking at the jpgs, I noticed what seem to be eyes and faces looking back at me. I tend to anamorphosize a lot of things from composits like bathroom tiles and marble floors. But then, say 'Hello Kitty' when you look at the bottom image and try NOT to to see it!

(Ed. Note: These aren't quite as garish as the picture shows. I promise! My camera tends to really intensify colors and come up with its own shades. You can see more detail by clicking on the pictures above.)

Mother Lode In Progress

I'm feeling closed to finished with this piece. I've decided to expand Mother Lode into a triptych with two more 'nuggets'. I'm putting both pictures I took up for your to see. The first picture was taken with my finger obscuring half the flash. Try this sometime if you have something that is so bright it's barking back at you.

You can see the bead frame around the chalcedony cabochon, earrings, the three plated chains, and the imperial and mystic topazes I put on. Lots of sun sitara, amber, garnet, fire opal, lemon quartz and one pretty bronze pearl surrounded by carnelian. I love the one 18K gold earring and tiger's eye star.

I'll wait to do the final shaping on the outside when all three elements are finished.

Go For The Gold

Here's a progress report on 'Mother Lode', the second piece in my Good Earth series. First, I went through a lot of bead boxes and trays, gemstones, old jewelry, threads, and then found the perfect embossed 'cloth of gold' in my big stash room. It's in the upper right corner of this picture:


I've been manipulating it by needle-sculpting, stuffing and trapunto as I embellish. I want to keep the shape of a gold nugget with its rounded bulges and depressions. I'm using flat lame' for the depressions. This is the darker version of the pictures I took so you can see the gold chain I couched on with gold threads.




The photo with the flash will flat blind you! The shots of iridescent green and blue are actually refracted light from off of the laser cut and iris AB sequins. And of course, I'm working at my computer desk - the only relatively flat and barely cluttered surface at my house.

Geode I is Finished!

Geode I 9"X21" Textiles and
Gemstones Mixed Media $3250



Finally finished the edges and final details on Geode I while I dog sat for Martha. I will put it on the back of a cradle board with Velcro before it goes in a gallery show or sells. I also decided that Velcro will help it be hung in any orientation as is pleasing.

You can tell the progression from the first pictures I posted. The binding/backing is a silk linen weave with a heavy slub that reminds me of the texture on the outside of geodes. The little pocket on the side was an afterthought that turned out well. I like the idea that it can be in the process of growing.

I'm really pleased how it turned out. There are multiple amethyst gemstones including light pink Cape Amethyst, grape amethyst cabochon, faceted amethyst beads, loose diamonds and a diamond tennis bracelet, druzy, quartz, tourmaline, tanzanite, fluorite, some lapis, fiber optic cat's eye, glass beads, vintage rose montees, opal, fire opal and opal glass, leather from a fashion belt, vintage beads from my stash of 1800s jet and rocailles, vintage sequins, hologram sequins, carnival beads, mirror, Swarovski crystal, hand dyed brocade from Cindy's stripper costume, square bent silver wire, ivory salt water, gray and peacock fresh water pearls, iridescent blue rhinestones from a 1950s cocktail dress, and a lead crystal cube.

I know I'm OCD.

Yes

Geode 1 Mixed Media Fiber, Gems, Silver 20" X 7"

I'm here. Still arguing with my computer about settings, malware, cat hair, etcetera. If not a total win, I'll persevere so that I can at least use it efficiently.

I have pictures to share which I will as soon as I find the software for Corel to reload or learn to use Photoshop Elements, whichever occurs first. I've taken pictures of the first Good Earth Works piece I've started. Hard to photograph because of all the sparkle. Here are two unedited views I took about a week ago. The ground is 20" X 7". I'm almost finished covering the entire canvas now but am a bit stuck.

I have one area that I don't know whether to cover with brocade and stones or leave blank. It's the bottom left on the whole view canvas above. This is where I suppose an art course or two would have helped with design principles. So I'm sitting on it for a bit to work on something totally different.

Almost finished a summer beret for artist Sheree Rensel and wanted you all to see that before I give it to her. Just working on a chapeau pin for decoration and then I'm done. Very pleased with it. Sherree chose the yarn in the bottom right corner - a multi stranded, very light weight and airy blend in 'amethyst' called Moda Dea Gleam.

It has a bit of sparkle to it, weighs next to nothing and I used a size "N" aluminum hook for a lacy and open fabric. I think she'll be pleased with it. I'm told Sheree has a reputation for eclectic and artsy dressing. If so, this will be an anchor piece for her wardrobe. I'm calling it "Summer Beret With Wild Hair".

I'm all for kissing the toes of Josie and Arpatx Latorre for their wonderful gift! The Ott-Lite magnifying glass has been used daily and extensively as I've sewn on beads, set gemstones and unraveled fuzzy yarns! Thank you both once again!!

I'll make a stab of putting up some photos without the tweaking.

Project

Told you about the new series of textile works I wanted to do. So. I just had to start one and have been working on it non-stop when I should be doing stuff for Sky and Cindy. She'll understand. She's artsy, too.

This first piece is called Geode. Chris' discussion about amethyst being his birthstone inspired me to start on this work first. I've sewn, set, manipulated and glued gems and beads and fiber to a large base for the last four nights until I'm stiff as a board. Woke up with a crunked neck, shoulders and hands. I told Martha that mama used to say, "You have to suffer for beauty", as I plucked my lush eyebrows. I never expected to suffer with my art, too.

I've a pile of amethyst, other precious gems and every style and description of glass bead and crystal in purple and silver tones I could lay hands on. I have an armature to build to give it shape and to drape on. Maybe that by the weekend.

(The picture above comes from the Gem Color Society.)

Part One Small Quilted Wallhanging Tutorial

This is a tutorial on how to make a small quilted and embellished wallhanging like those in my New Orleans Blues Fetish series listed on Etsy.com. These small pieces are wonderful to brighten up a narrow wall space or hung in clusters.





1. Start your piece with a 4 1/2" X 6 1/2" top. I recommend using a sturdy fabric that can stand up to the weight of your embellishment and hold its shape after quilting. Your top can be pieced, embellished with beads or gemstones or collaged with fabric scraps, lace and ribbon. The first picture above shows the beaded piece ready to be quilted.


2. After your top is ready, cut a fabric backing, batting and interfacing the same size as your top as in picture 2 just below.



3. You'll stack your work with a layer of sew-in interfacing, batting and backing under it. The interfacing under the embellished layer doesn't show up well in the third picture. It's the edge of white just under the beaded top. Don't worry if your layers aren't exactly the same. You'll trim off the extra after they're all basted together.



4. Once together, pin the different layers together starting with the center and working towards the edges smoothing your layers as you pin.

Almost

Put some finishing touches on my 3 installations and one hanging for Gala Corina. The show this year is phenomenal !! I have already picked out my favorites and keep adding to the list. The venue is incredible, huge. The artists this year are pure cream! I've met some real sweeties!

So. Just a few more things to do before opening. I'm finishing up my series of Artists Trading Cards for the show. They're a phenom where artists created 2 1/2" by 3 1/2" mini art works and sell or trade them. This year, 40 plus of us are participating. We will trade each other for a set and the balance of the 96 we agreed to create will be sold to support the show. Go here to learn about them: http://www.cedarseed.com/air/atc.html

My series is called 'Flasher'. Each features a coat or curtain that must be opened or moved aside to view. Some 'inner messages' are benign, others stare right back at you. Next time, I resolve to spend more time on them so they're more complex.

Forgot some of the little people I made for Swept Under to pin in falling out of pockets and from under the back train of the coat, but I'll take them with me tomorrow when I go to help sort and wrap the ATCs. Interested in doing your own ATCs??

So. I'm done. Almost.

(Ed. Note: Here's a short how-to video to get you started doing your own.

http://video.yahoo.com/video/play?vid=1098982549&fr=yfp-t-471 )

Progress

I am making progress on the first project for Gala Corina. More details are coming through and I'm now adding a thin, red piping around the black wave accents for 'Swept Under'. I want the 'water' to look oily, thick and impenetrable on the bottom of the coat. Nothing for it but to use black Egyptian cotton. I used linen on another coat called 'Midnight Seas' when I wanted to accent the highlights of the moon on the ocean surface under the ship on the back and it worked well.

Made a mile of red bias for the piping and accents and the bases for both the outer layer and lining of the coat are together, if not pressed. I'll do that tonight. I used extra fabric for godets matching the stripes on the outer layer and lining that will look like a huge swell when the coat is worn in performance. I learned this trick ages ago when stage costuming to give that floating look like Frank Langela coming over the foggy backlit bridge or opening his cape on stage in an old Dracula take off. The air picks up the extra large bottom of the cape and makes it span out because of the bias. The air literally plays the hand of the bias.

Hopefully, the camera will be up and fully functional so I can show you what I mean. A picture is worth....

Research on the figures for the counterpane inside that Lufthansa gave me is sobering. The numbers of disappeared, sold into slavery and kidnapped for the sex trade and slave labor is appalling. I mean. My god. It's the 21st century NOT Medieval Europe or the American South of the 1860s!