Cloning & Layers of Interest

Threadwork adds layers of interest and texture to a piece. What was once a flat surface becomes tactile and visibly more entrancing.




My favourite step is creating the design. Starting. Responding to the developing piece. Seeing what happens. Envisioning. Those first steps didn't happen with this piece since I started with a printed fabric as opposed to creating my own. I missed them.




My second favourite step is watching the design come alive as I add the subsequent layers. Above, the main shapes are edged in a satin stitch and below each has straight outlining that echoes and highlights its lines. That small difference has significant impact.




Satin stitching around each shape is a boring process of allowing the machine to walk at its own pace without forcing the fabric forward while guiding the needle against the edge and keeping it parallel. Outlining is equally boring, following against but not too far from, or near to, the satin stitching. With both, you go around and around and around. With both, it's important to create even, carefully placed, stitches. It's enough to make you go crazy and yet the results bring tremendous energy to the piece.

I learned patience with satin stitching from Jane Sassaman, an artist whose earlier works I particularly enjoy. Long before we'd ever met, our lines and shapes had similarity. Before Jane became known, my work was my work. People around here would recognize it as a "Myrna piece". After Jane became know, when I showed my work I would be asked if I'd taken a workshop with her as if somehow I couldn't possibly be that original all on my own. Those comments were very annoying.

Now there are all kinds of Jane clones, deliberately created as opposed to coincidentally similar. Cloning became a huge point of annoyance for me in Quilt World. It's the reason I started teaching art theory and how to create independent, pattern free, work. As big name teachers travelled and gave workshops across North America, around the World, so many people's work became homogeneous. They have studied with Jane or Nancy or Libby and their work looks like Jane or Nancy or Libby. Unless they go into the studio, take that learning, and allow it to be added to their body of skills and knowledge without completely shaping it, they are in danger of being not themselves but someone else. That takes discipline. It rarely happens.

I don't see cloning quite as much in fashion sewing although that may just be because I haven't been doing it for too long. The danger that I do see is similar to many mediums. It's a mindless following of the pattern without any attempt to deviate or add originality. I feel it in myself when I make one, two, three t-shirts or one, two, three skirts without breaking free and adding some details of freedom and originality. I know that's why I like refashioning. The process is much closer to the type of textile work I enjoy creating. On the other hand, repeat projects are an opportunity to perfect and build up skills. Both are important.

The next step for the purse fabric is to create the inner lines of the flowers. I'm not sure how much time I'll have to work on that today. I'm getting my hair cut, which has become an all day process as I go to my friend's house 45 minutes out of town. She cuts my hair, we have lunch, and then visit for the afternoon while knitting and talking. I'm looking forward to it.

Talk soon - Myrna

Grateful - I've had the urge to move lately. Nothing major. Just brief flashes. I'm grateful that I now recognize that urge as indicative of something in my life that needs to be dealt with and can focus on that rather than on house hunting and acquiring enough boxes.