Well, it's all pieced now. I added some darks to the light areas and some lights to the darks. I also added more red pieces and ... wait for it... some chartreuse as a complement to the red and purple. It measures 5.5 feet high and 7.5 feet wide, and is reasonably flat, after some judicious tucks. There is more light being cast on the left side of the wall than on the right, so the photo is a little misleading in that respect.I will bring it to our Text'art meeting at Linda's on Monday to get some advice about the layering and quilting. I want it to be reasonably stiff, but not so stiff that it's a problem to get through the sewing machine. As it is not being entered in a quilt show, there is no need to take a conventional approach to this step. Will use a facing to finish off the edges.
When the piece is installed, I will take a final photo of it, just so there's a little closure for those of you have been so helpful with your guidance and support. The building isn't ready yet, but should be within a few weeks. I am a little nervous about how it is going to be received, but there's no turning back now!
I can't wait to see this hanging in place as you say that the background will be quite a warm darkish gray.I could see a very small something added to the bottom near the left hanging down, to make it just slightly more irregular across the bottom, but small like the ones on the right side. Really ,really love it. Spectacular Heather.
ReplyDeleteI could agree with Michele about making the bottom ever so slightly more irregular but the wow for me is the Chartreuse...perfect. Love the piece.
ReplyDeleteHere's an e-mail I received from Dianne just now:
ReplyDelete"Good Morning Heather
I'm down at the cottage and so can't reply on the 12 blog - still on dial-up!!
"On the left side you have 3 squares which run down in a straight line. It doesn't conform to the irregularity of the rest of it and worries my eye.
"And I flipped the picture (sorry, can't send it) - have you looked at it that way? A couple of reasons for me to think about it: Light traditionally comes from the top, and then of course there is all sorts of symbolism about light at the top. The other is that you have a pronounced curve, which right now has a downward cast, but the other way round is more uplifting. Since I have no idea where and how this is going to hang, this may be irrelevant anyway.
"But I love the piece and look forward to seeing it in situ."
I really appreciate the latest comments I have received from Dianne, Michele and Phil, and I think your advice is right on. I am taking a morning off to loll about and catch up on my New Yorkers, but I plan to implement your suggestions before the day is out. These are issues that I did consider at one point and then I lost track of them in my desire to get the damn thing finished.
Yes, I did look at the piece turned upside down, using the computer to "work smart" rather than to "work hard". This would have been at an earlier stage, and I didn't like the way it looked turned 180, but I will reconsider that, Dianne.
Thank you again, everyone, for bringing your discerning eyes and helpful spirits to this project of mine.
I was going to wait to comment until I saw the piece in person, but then I saw Dianne's e-mail. Once I had seen the 3 squares in a line, I found I couldn't look away from them. Perhaps one more square in the corner softening that line? I also had a go at rotating the image, and I did prefer it with the lighter squares at the top. I love the colours, and yes, despite my scepticism the chartreuse does work!
ReplyDeleteI totally agree with your choice of adding chartreuse - perfect foil to the red. It has added a bit of 'ping'.
ReplyDeleteHeather I hadn't realised that the piece was to be the jagged shape - silly me assumed it was work in progress towards a traditional shape. I love the idea it will be unconventional. You might have to work hard on one or two of the smaller jutting out bits to stop them flopping.
I am not distracted by the 'three in a row' but slightly by the 'squareness' of the lighter area added bottom left and would be tempted to see what it looked like with the bottom left vertical line angled a bit (by removing one or two little blocks) to create more of an angle to be in tune with that on the right hand side.
I have turned the piece upside down and am with the others that I prefer it.
All in all it is a stunning piece, eye catching and with plenty of wow factor. I'm interested to see what decisions you make and it in situ.
Hilary
PS I will send you the tips for facings that Elizabeth Barton gave us which do away with seams in the corners. H
I worked on the piece yesterday, Hilary, and implemented a lot of the suggested changes. And yes, it may well hang with the lighter part at the top.
ReplyDeleteI have never worked with so much collaboration, but I really do value your opinions, and appreciate the generous advice, all of which has helped to move the work forward. The scale of the piece has been a little daunting, and it is quite different from anything I have done in the past. Somehow the "context" of the work was missing, what with the space still under construction and no feedback from the "client".
Also, haven't ever used a facing, so I am eager to learn Elizabeth Barton's approach. I have re-thought my approach to the quilting. Original plan was to do swooping lines through the whole piece, as I saw in Nancy Halperin's work at last year's VQF. While I still think that would be very effective, I don't trust myself to get it done right, with enough density of stitching to prevent sagging over time. So will probably stick to the lines of construction. I think this will reduce the likelihood of pleating in areas of fullness, and allow for more even stitching. No marking necessary, which is always a plus!
To be continued....