Eleanor Levie HomeAboutEditorial ServicesBooksGallerySpeaker TopicsWorkshopsPast BookingsFree StuffLInks Contact Me

Inspiring Quilting: Elly's blog to boost your creative IQ

Archive for the ‘Art + Quilt’ Category

Pick a Pomegranate, Perhaps

Thursday, April 12th, 2012

“Choose a motif to represent yourself,” said South African contemporary quilt artist Rosalie Dace (rosaliedace.co.za). In this extraordinary class called “Signs & Symbols” that I took at Quilt Surface Design Symposium four summers ago, Rosalie explained that even basic shapes can be used to express your essence. Circles and curvy, round shapes, for example,  are intuitively feminine forms. Rosalie, hot as a teacher as well as quilter, frequently uses the sun of Durban, her hometown, in her work. Me, I tend to be pretty fruity. My body, I figured, brings the pear to mind, but I picked the pomegranate. The rich colors, the bulbous form, and that crown–it says diva to me.

I’ve just pulled out that class piece I worked on in 2007 and brought home to finish…but never got around to. In showing it to you here, the pressure is on to go back and make it ripen it to fruition! Please share a critical comment–plant a seed in my brain to help me organize and improve the composition, or to motivate me to just get it done! As a thank you, I’ll enter you into a drawing for my book, Unforgettable Tote Bags: 20 designs too cool to leave in the car. 

  

NEWS FLASH: The amazing Pamela Allen of Canada just honored me with more than a mere crit, but a dynamic, digital rendition.  Had to add right here, right now. Because it’s such a  brilliant idea, with potential to work in many other applications–your work, perhaps! What Pamela did was to adapt elements from my piece and echo and elongate them for unity, cohesiveness, and flow.

Pamela pitches pomegranates to perfection!

I can’t wait to play with this concept, using my cut and paste, er, pin way of working. Now, back to the blog.

Ahh, the mystery, the history of this fantastical fruit!

Embroidered panel I saw recently at the Jewish Museum of Belgium, in Brussels.

Did you know…?

  • The forbidden fruit in the Garden of Eden is thought to have been a pomegranate. (Since when did you ever see apple trees in the Middle East, the cradle of civilization?)
  • Ancient Egyptians regarded the pomegranate as a symbol of prosperity and ambition. (A few of these fancy fruits–to dry and set out in a big bowl–is gonna set you back quite a few dollars, so you better have a good amount of disposable income for this showy decorating effect.)
  • In India, for generations, the rind of the fruit and the bark of the pomegranate tree has been used to treat diarrhea, dysentery, and hemorrhoids; to stop nose bleeds; and, in combo with mustard seed oil, to tone skin  and firm up sagging breasts! (Note to self: add pomegrates and mustard seed oil to the grocery list.)
  • Jews have often used views of this fruit on coins, coronets, and to decorate the handles of the Torah scrolls. My people like to co-relate the many, many seeds with the many, many laws in the Torah (613–don’t ask me how many– er, how few I observe).
  • All those multitudinous seeds means the pomegranate symbolizes fertility in many cultures. (Hey, I may only have one child, but let my publishing and quiltmaking efforts be fruitful!!)
  • In paintings of Mother Mary or baby Jesus, pomegranates are shorthand religious symbols for Sandro Botticelli, and for Leonardo da Vinci, code.
  • The French term  for pomegranate is grenade. Soldiers noted the similar shape of early explosives and the name stuck. (Can I maybe get a little credit for using of pomegranates in my work as an anti-war statement? Even if I didn’t know about this at the time I began?)
  • To “seed” a pomegranate, break pieces of seeds and pithy membrane and put in water. The pith will float, the seeds will not.  Scoop up some seeds and sprinkle over a green salad. The sweet, juicy pulp is a wonderful enhancement. (And in moderation, the crunch of the seeds is not half bad.)
  • You can make your own pomegranate juice or syrup (grenadine). I don’t though. After all, Pom comes in that great bottle, and you just need to pour a tiny bit of  the dense grenadine slowly over OJ on ice for a very arty effect. Plus, a jigger of tequila turns it into a Tequila Sunrise. Cheers!

Here’s a plum offer: Mention other cool pomegranate facts, mythology, and recipes, and I’ll enter you into the drawing for my book, Unforgettable Tote Bags: 20 designs too cool to leave in the car.

Much more recently–last week, in fact, I was lucky enough to take a class with Judy Langille  (judylangille.com) called  “Cut, Slash and Tear Your Way to Innovative Fabric Design.”  It was, conveniently enough for me, held in my local area as part of the FiberPhiladelphia 2012 extravaganza. Judy had us students using silk screens and making thermofaxes, but freezer paper was the key tool.

Determined to avoid adding to my stash and coming home with yet another unfinished class project, I began with one of my grandmother’s linen dresser scarves.  Hemmed and edged with tatted lace, it dictated the parameters and the old fashioned, feminine mood of the finished piece. Following Judy’s cue, I ironed freezer over the whole linen rectangle, and then cut out various pomegranate shapes to color with dyes. Then, I masked only the pomegranate shapes, and went to work on the background.  Longtime buddy Sammie Moshenberg’s photo of a dune fence, taken during a joint family beach vacation in 2007, provided the repeat motif. Fed through the thermofax, the image gave me great visual texture I applied in yellow, tan, and green paint. In addition, I utilized some of Judy’s thermofaxes (rings, a gridded dot designs) and my own– well, text cribbed from the Internet, the definition for pomegranate, printed out in a florid script font. Plus a few dots and rings from stamping with a pencil eraser.

The best thing about my class project? It’s done!

Hey, do you ever do surface design, applique, quilting, or embellishment over vintage linens? If so, leave a comment and tell me about it, or point to your website or blog for a picture. Would you believe it, you’ll be entered into a drawing for my book, Unforgettable Tote Bags: 20 designs too cool to leave in the car. It’s a green book, so I’m prepared to give away 22 copies by Earth Day, April 22. (Note: Flat rate postage to be charged if winners reside outside the contiguous USA.)

Remember, I’ll be pleased as, well, pomegranate punch if you leave a comment!

 

Funny-Side Up: FiberPhiladelphia 2012

Friday, April 6th, 2012

 

Yup, I needed help. When the most deep and conceptual installations of FiberPhiladelphia were without cloth, let alone quilting or stitches, I started to feel waaay out of date–positively obsolete. But here and there, I found the perfect antidote: Fiber art that made me chuckle, giggle, and grin.  Seriously,  who says art must be serious?  Have a good laugh, and then get inspired to make art that’s just for fun!

House of Cards (all credit cards), by Amy Orr

 

This piece is at the Philadelphia Alliance of Art, in Rittenhouse Square

Peering into the living room

Credit card siding, on the side

Also at the Philadelphia Alliance of Art, this hilarious piece by embroidery artist Marcia Doctor; the needle gives you a sense of the scale on this one:

“Don’t Fuck with Me,” by Marcia Doctor

Formal Argument, by Diane Savona, at the Crane

a detail

 

 

 

 

 

 

 

 

 

 

 

Here’s the back of the award-winning piece.

Part of a series of collages, by London artist Spinks, these little classical prints are warmed up by tiny knitted sweaters and hats. It’s at the Gershman Y exhibit called Mending = Art.

Random Acts of Kindness, by Spinks

 

Random Acts of Kindness, by Spinks

Cute, huh?

 

Slurp, by Jill Rumoshosky Werner, which was at the High Wire Gallery

Dots Rush In Where Checkers Fear to Tread, by Renie Breskin Adams, at KelliJane, and about 7″ x 9″

 

Zipperwall Quilt 2, by Bryan Day, at the Crane

Yes, those are plastic Easter eggs!

Happy Easter, Happy Passover, Happy Spring!

Hair Comes A New Concept

Monday, April 2nd, 2012

Must confess, the Inside/Outside juried exhibit at the Crane, a big part of Fiber Philadelphia, was sooo conceptual, so avant garde it left me feeling left behind…Here are two pieces, with their labels that are hairy–with respect to being made of human fibers AND to being risky… the hair–er, heir apparent of high fiber art in 2012:

I will bring you more high art, jaw-dropping, serious stuff…do comment on the significance as you see it!  Keep visiting… I’ll also be sharing some much more accessible fiber art: to simply make you laugh!

Storytellers at Art Quilt Elements 2012

Saturday, March 31st, 2012

Awed, Quivering, and Elevated, I took in the AQE show at its opening this evening.  Art Quilt Elements (formerly Art Quilts at the Sedgwick) is a biennial, juried show taking place at the Wayne Art Center, on Philly’s Main Line through May 13. And let me tell you, it is one of the crown jewels of not only Fiber Philadelphia 2012, but of the international fine art scene. Because after all, quilts of this caliber are just that: fine art.

And as with all great art, the story or narrative embedded in the work is a big part of what makes it so amazing. Almost every piece spoke to me, but there were three artists present who also spoke to me, graciously granting me permission to photograph them with their work and share it on my blog.

The most traditional of these art quilts was a most riotous, joyous riff on the American flag. In Colors Unfurled, aka If Betsy Ross Had My Stash, Maria Shell  celebrates diversity. “Each stripe tells a story, and each star represents a state,” she explains.

Another quilter gave a nod to tradition: whole cloth quilts, simple black and white contrast, the expected squarish format. But oh, does she ever throw in a curve. In Same But Not, Paula Kovarik is inspired by “yin and yang,  one line pathways, right brain, and left brain.” That one line pathway phrase is key: while Paula marked the semi-circles on white and black Kona cotton, the rest is pure, freehand doodling–with one continuous line of black thread on white, and one continuous line of white thread on black. The winding pathway, defined by the absence of quilting, certainly takes this viewer on a miraculous journey!

 

 

 

 

 

 

 

Many years ago, I was privileged to show Susan Else’s Captured on Film, a masterful composition full of set-in seams and minute pieced sashing in the Rodale’s Successful Quilting Library volume, Innovative Piecing. I only wish I had been able to show it full page. Susan looks back on that as the time when, ho hum, she was still making flat quilts. Baby, get a look at her work now:

This piece (which shared the top juror’s award with Red Stones #2, the sheer Dianne Firth piece  you can glimpse in the background on the right) shows Susan’s continued mastery of technique–but taken now to exquisite heights, or rather, dimensions. Forever Yours illustrates such contradictory ideas as “love and death, tenderness and creepiness”…and also flat quilts vs. machine quilted fabric collage sewn over modified armature!

Huzzahs to Art Quilt Elements, for not imposing any sort of definition of what an art quilt is or requirements for the art quilt entries.

Kudos to the jurors, who whittled 800 or so entries down to 50 or so powerhouses of technique and composition, each with a compelling narrative.

And congrats to YOU, if you get the chance to see these extraordinary storytelling art quilts in the cloth. If not, consider ordering the catalog–a beautifully done chronicle of this, the 10th anniversary show, from www.wayneart.org. There, you’ll also get to see the work of the talented and accomplished committee members behind AQE, and also exemplary pieces of the fiber artists who have been jurors for this and the past AQE shows.

 

 

 

Aprons to Reflect Who You Are

Friday, March 30th, 2012

When I was growing up, aprons had a really bad rep.  They were the pitiful junior high school Home Ec project meant to be your maiden voyage into Sewing-Machine Land. I was fortunate to have a mother who sewed, and who had taught me the ropes back when I was in fourth grade.  I already knew how to insert zippers, make buttonholes, fit sleeves into armholes.  I had skirts, dresses, and jumpers to sew. I had no need for aprons.

From college on, I was a feminist set on making my mark, if not saving the world. Aprons symbolized “the little woman”–submission, domesticity, a denial of your strengths and talents.

In the ’90s, I certainly identified with Cynthia Myerberg’s tongue-in-cheek Kitschen Help series. She used the apron shape with all its demeaning meaning. And photo-transfers from 1950s advertisements that brainwashed women into believing that domestic life could be so joyful, as long as you had the right appliances.  Plus chains as the occasional neck strap. Cynthia’s aprons, which I originally saw at the juried exhibition Art Quilts At the Sedgewick (AQATS–now Art Quilt Elements–more on that show soon!), were the delicious attire of satire. [Check out more about the advent of art quilts in America in my book: American Quiltmaking: 1970-2000, available elsewhere on this site.]

But just when you thought we’d all string aprons up by their, well, apron strings, flash forward to the new milennium.  Vintage aprons suddenly have panache.  They’re collected–I couldn’t resist buying a few sweet ones at flea markets myself! They’re oohed and aahed over at the quilt guild show ‘n tell, worn when hosting coffee klutches with your quilting friends, hung as charming valances in retro kitchens.  Young women in Modern Quilt Guilds make them up in contemporary fabrics and wear them everywhere, layered like tunics or back-wrap dresses over tank tops and skinny pants. Very cute–if you’re young.

Well, ladies, tonight I saw the humble apron rise on up in respectability–way past cute.  Launching the Fiber Philadelphia 2012 weekend events was my very own synagogue, Congregation Rodeph Shalom. There, we were treated to a spectacular one-person show, The New Sacred: Ritual Textiles by Rachel Kanter.  Rachel is a young, innovative fiber artist, yet she seems incredibly secure in her traditional family roles as grand-daughter, daughter, sister, wife, mom of 3 young children. But it’s her Judaism that pervades her life and her art. Once she decided she wanted a tallit–prayer shawl–for herself, she set out to create a uniquely feminine one. On her website RachelKanter.com and in person, Rachel explains that her inspiration is the four cornered robes worn by priests in biblical times. However, in using vintage apron patterns from the 20th century for her designs, she finds “a means of connecting her story as a woman with her story as a Jew.”

My favorite piece in the exhibit was this apron/tallit with stitches outlining the demarkations on patterns for darts, shortening and lengthening the shape. Like all the ritual aprons, it has the knotted fringes common to every tallit, with a knot or twist for each of the 613 commandments in the Torah.

Called God’s Aspect, it’s made of sheer fabric, so that God’s image may be glimpsed in the wearer herself. (Rachel’s preaching to the choir on this one: for me, God is definitely female!)

Other aprons depicted the environs of Jewish female farmers. Huh? Who knew they existed in America today? Nice to see that environmental and ethical concerns color their lives, as they color these pieces. Especially nice that one of the farms is a wind farm!  (See the  pole and blades of the wind mill on the natural linen apron.)

Rachel’s art in this exhibit extended to wimpels and mikvehs, themes of binding together, of renewal, of family and community. I snapped the artist in front of one of her ritual tablecloths (below). She elevates the kitchen table to altar-status by appliques of cherished family objects, imbued with food, feasts, conversation, and memory.

She accomplishes the same thing with the lowly apron, don’t you think? Still, you wouldn’t wear these out in public, let alone to a worship service. Progressive Judaism relegates “Sunday Best” –or in our case, Sabbath Best–for the High Holidays.  Rachel herself admits that she doesn’t wear these tallit-aprons, at home or in synagogue. She’s successful as an artist, and her work is widely exhibited. Wouldn’t do to get them stained. So these aprons will remain as ritual objects…the new sacred.

Rachel Kanter, in front of her Mikdash Me’At, a ritual tablecloth in the exhibit.