The two pieces in “What the Tide Brings” series were completed in the same week but in different rooms. Tide #1 began with traditional -but also playful- log cabin blocks that build outward until the traditional grid disappears. Tide #2 uses many of the same fabrics, but block structure drops off and gives way to overlapping raw-edges, reflective of the ever-returning shoreline waves. The collaged shell cluster embellishments (on both pieces) represent the treasures remaining on the beach when the tide goes back out. The rose and orange-toned fabrics are actually vintage traditional blue and white hand-stenciled Japanese summer yukata kimono remnants that had yellowed greatly with age, but given a 2nd life by over-dying. Tide #2 has a machine-pieced top and is hand-quilted through batting. (35.52“ Ht. x 19” W.) 2005
The two pieces in “What the Tide Brings” series were completed in the same week but in different rooms. Tide #1 began with traditional -but also playful- log cabin blocks that build outward until the traditional grid disappears. Tide #2 uses many of the same fabrics, but block structure drops off and gives way to overlapping raw-edges, reflective of the ever-returning shoreline waves. The collaged shell cluster embellishments (on both pieces) represent the treasure remaining on the beach after the tide goes back out. The rose and orange-toned fabrics are actually vintage traditional blue and white hand-stenciled Japanese summer yukata kimono remnants that had yellowed greatly with age, but given a 2nd life by over-dying. Tide #1 has machine-pieced top and employs both hand-quilting (with batting) and Japanese Sashiko decorative work.
(35 1/2 “Ht. x 19.5 ” W.) 2005
Crimson mountain-top
A single leaf drifts and hangs
Wind out of nowhere*
The inspiration for this piece came from a vista memory: the rolling hills and valleys of western Kyoto, viewed from afar at the peak of early November “koyo” (color change) where THOUSANDS of glorious deep red maple trees set against a background of deep green pine trees. Starting with hand-printed leaf fabric from a workshop I taught, I placed the leaves as focal points throughout the collage of machine-pieced patchwork. The hand-quilted lines suggest movement of the wind coaxing leaves from the branches. This work is part of a series exploring the natural landscape within the context of monthly seasonal changes. Of the five I completed so far, only this one (November) and March remain; December, January, and February are now in private and public collections. *My dear friend and writer, Marian Wolbers, gifted me with a lovely haiku poem. (50.5 Ht. x 34.5” W.) 1997
