These expressions represent three recent themes: personal and universal journaling, the simplicity and transparency of a single textile, and my conviction that we scorn and discard what will prove to have mattered most. Calligraphy, storytelling, and the quilter’s love of texture combine with a new commitment to the design of the page, the book. The signature is a printer’s term, and I redefine it here to link book and quilt forms. These are quilts in structure, but they are about the content rather than the surface.
We have what we need. It has comforted me as an artist to forego the nearly limitless material resources that tempt us at every turn. I choose to limit my palette to humble, random debris, and I delight in the study of those trimmings and findings that have taken on a life of their own. While we are looking the other way, they have become a kind of compost, and they will fertilize the future if we let them.
A for Ginny Grose from her husband Phil
Words Are Seeds
Another Signature, in honor of my father’s life in publishing, and my own fascination with the design and formation of pages. The things we inherit through our DNA often conflict with the things our culture tells us. It is our constant battle to reconcile the two stories and to shape an individual conscience in the process. This is a reference to the unit of a book as it comes off the printing press, and to the history of quilts as vehicles for storytelling. The notes are a journal of my recycling journey through old studio debris. My constant attention to the creative process over 30 years has led me to ponder how seldom we learn without sacrificing what we originally assumed. Silk organza, tea-stained, bookbinders glue, found materials12 Panel Signature
47”w x 35” | 2005
My father collected my mother’s letters, written every day during WWII, including the ones the army shrunk for lighter weight shipping to France. After he died, she shredded them in a fit of emotional housekeeping, a profound lesson to me in letting go. Their mysteries are honored here. Silk organza, brown wrapping paper, beeswax, chile peppers, Vmail correspondence from World War II Folio
48”w x 36” |
Homage to a profoundly influential book on the social implications of architecture. The background is made of patterns I acquired during research for my first job, as an assistant editor for the Vogue Sewing Book. This is where I applied and honed my skills at writing, re-writing, and page layout, and where I made my first efforts at textile collage. Teabag, hair, grasses, shreds of my mother’s letters, dress patterns, my calligraphy, a fragment of disintegrating flat from Chicago Lyric Opera ca. 1890.
38″w x 50″ | 2004
Scraps of old projects seem to form the most fertile compost for my recent work. Many inspiring leftovers from the past 20 years are captured here, part of the handwritten saga. The many layers of glued silk approximate parchment, but no goats died, only silkworms. Silk organza (12 layers), bookbinders glue, found materials, linen thread
48”w x 38” | 2005
This is a commission for Cynthia Boyer’s window, looking out over the Potomac from Alexandria, VA. I included several fragments from her studio, including some actual “chads” from the 2000 election. Silk, bookbinders glue, found objects
36″ x 72″ | 2005