Dealing with the Abyss
I have completed my latest piece, The Abyss. Again, I find that I am reluctant to talk about it very much. I wrote an artist’s statement for it which I promptly deleted before I published it. Sometimes, it is best to let the art speak for itself.
This is another abstract piece but entirely my own. It is a figure that has been highly stylized with photo manipulation on the computer. Once I was happy with it, I worked with a fabulous company out in Anthem, AZ, called Studio West. In the past, I’ve printed digital pieces on my little printer and then sewn the pieces together — or more recently, I had a piece printed at Spoonflower. You get what you pay for. The Studio West piece is printed on silk — which I haven’t worked with before — and the small business owners work very closely with the artist to authentically reproduce the image onto fabric in the highest resolution and with the truest color matching. It was a joy to work with them.
Working with silk is interesting. It isn’t like cotton much at all. I had to stabilize it with a Pellon fusible interfacing so it wouldn’t slide all over the place. That requires some wet heat, and I learned that that also helped set the ink, although I still had some come off, so my pressing cloth and my ironing board suffered some ink injuries. I knew that I couldn’t use pins to baste the quilt layers together. Someone told me to baste just the outside, but if something is going to go horribly wrong, it’s going to go wrong on my watch. I had to have more control over it before I’d start running it under the needle. Some people said no to spray basting — others recommended it. I still had some from when I was making the Wash & Wax pieces with Leisa Rich, so I tried a light application. Thankfully, it worked like a dream.
Much faster than my heavily appliquéd pieces and it still gets the point across.