Vibrant color with some smokeyness to it. Worlds and continents and centuries overlap in this little collection of textiles. Antique garment fragments from Japan, 18th century silk and velvet and shimmering patterns from Venice. And all of them found me. Marvelous serendipity.
I like thinking about all the things that had to happen in the world across hundreds of years for this bird to be, a crimson and scarlet girl who had her beginnings in the 1700’s. What has she seen, what does she carry with her.
I spend huge amounts of time selecting fabrics, lingering in the choices, it slows me down in a way that I need to be slowed down sometimes. I have always loved to do it. Ask my sister, she will tell you that I loved to spend hours in the attic on a rainy day sorting through endless bags of scraps (I come from sewing people) imagining what I might make.
I’m doing lots of slow songbird work still. trying things, taking notes and making tiny adjustments. The part I most look forward to teaching you is transforming the basic shape into a bird, adding layers of feathers and details. There is so much opportunity for happy accidents. An imperfection, one wing a little askew or a tail feather poking out can suggest the funny, expressive little motions of a perched bird. Birdness.
The deep mineral tones are spilling into other work too. I interrupted the bird work to make a toadstool because I was in need of some immediate gratification. Toadstools are quick to make, especially the minis, this is made from the sewing pattern printed at 75%.
And The Major, in aubergine, charcoal and graphite with little bits of silver and warm rose. I love him. Especially his fancy bicorne.