On a post-travel, post-exhibit, post-finished work high, I am. The 2019 edition of Verona Tessile ended on April 28. If you are a fiber art or quilt lover, definitely put Verona on your 2021 list. Now, let me try to separate the thoughtful threads currently tangled in my brain….
By their hands, we are fed. Alanna Nelson, 2019. Cotton, wool felt.
Finished and photographed a week before my departure, relief and gratitude abounded as I tucked my contribution to Annamaria Brenti‘s Finestre Migranti project into my carry on duffle (You can read more about my thought and construction process).
What a gift it was to have the time and contemplative moments to create this work. My goal: let this quilt inspire you to savor your next meal and consider how it arrived on your plate. Here are a few detail shots…
Now it’s time to work on other pieces that fermented while stitching. I hope to flat bed scan “By their hands..,” leveraging the hours of work and ideas into other projects.
Finestre Migranti at Verona Tessile 2019
How to display more than 40 contributions totaling nearly 80 meters of fiber art – now that’s a curator’s installation puzzle to solve. Silvanna Zenatello, a key force behind the project, cleverly designed a serpentine path where each quilt flows into the next. Thanks to the Verona Tessile sponsor SEC Events, their crews adeptly installed the support structures following Silvanna’s CAD drawings.
Installation took a big chunk of the day, even with excellent preparations and layout instructions. Fortunately, Emmanuela, Katrina and I are tall enough to reduce ladder climbing. Sigrun became a master Pinner, and Maddalena dashed to wherever Silvanna asked. Silvanna brought many quilts with her from Roma and Lazio. Others were delivered to Ad Maiora in Verona, still others delivered on installation morning.
Finestre Migranti – first public exhibit, many emotions
After working alone on my Immigration Windows/Migrating Windows project, I relished hearing experiences and emotions that mirrored and differed from my own. With contributions from Chile, the US, Italy, Kenya, and Gambia, the artists presented universal and timeless perspectives on immigration. I reunited with Lazio quilters from my Frascati days. Many quilts were delivered by hand, so new friendships developed, including SAQA member Shoshi Rimer.
Our shared experience making an Immigration Windows quilt created immediate kinship even if it was the first time we met. We had a fun meal out together after the opening day, and I found myself stopping by the exhibit just to chat with whoever was white gloving.
Visitors responded thoughtfully and with great interest to the project. Nadia, a dynamic interpreter, was like a pied piper leading groups through the exhibit. In addition to enjoying the visual aspect of the work, visitors definitely enjoyed hearing the stories and understanding the techniques. With the artist statements and techniques in Italian, English and Spanish, people could alternate between the stories and the art.
On Friday morning, the Chilean textile artists gave a talk about the creation of their gorgeous contribution to the project. I shared strategies to encourage quilters to consider a conservation perspective when creating their quilts. We honored the young Italian residents with international heritage who explained the meaning behind their Finestre Migranti quilt.
Immigrants to Italy also visited the exhibit. I met three young men who are living in limbo without passports or an easy road to immigration. The enormity and duration of their endeavor was palpable in their demeanor.
“Forza,” I encouraged them. “Each day seems heavy now, but resolution will happen.”
Of course, resolution will happen. But when? How? How can I bolster and support people who are living in transient times? This window on immigration was living, not in textiles.
The opening day, April 25, was a national holiday, commemorating Italian liberation at the end of World War II. With the Festival taking place during the week after Easter and with free attendance, turnout included local, national and European contingents.
Annamaria just posted a video that followed the waves of the Finestre Migrante exhibit. Take a peek.
With Verona Tessile 2019 over, the next objective is to send the exhibit on the road. There are definite ideas and connections being made, so stay tuned for more details!
With those first threads of my travels untangled, it’s time to get back into the studio. I’ll share more people, sites and stories about Verona Tessile soon!
It was my lucky day. I attended Local Environmental Action 2018, where keynote speaker Loretta Ross emphatically (in her folksy way) made her case for all aspects of human rights. Loretta would like to see a culture where we can “call in” and build connections rather than “call out” and isolate people.
In group sessions, I marveled at the different paths life leads us and heard motivations for attending the Conference. International approaches to reducing our carbon footprint and adapting to the change inspired me to keep moving forward. Strategies learned at a session inspired by research from NNOOCI give me a framework to communicate in ways that can build consensus. I even won something in the silent auction!
At the closing keynote, Mariama White-Hammond encouraged everyone to protect our progress, build connections in our community and envision a future that will result in a more equitable and sustainable future.
It was an inspiring and tool building day.
There was a moment when my face wrinkled: When Carol Oldham praised the efforts of Jane Palmer leading a knit in to protest a proposed pipeline in VT, she had to pause while many in the audience giggled. Oh, dear, not again.
Does “knit in” make you laugh? Let me call you in (a chance practice what I learned).
I cannot deny the stereotype of knitting as an activity of the elderly women, which is somehow not perceived as cool as… Beyoncé or Juan Manuel Santos. Not that many years ago, knitting was a necessary activity done by all ages. In the US, knitting and protest trace back to the Revolutionary War. While the decline in handwork was dramatic in the 1950s and 60s, activity rebounded beginning in the 1970’s. In this millennium, motivation and passion for not just knitting, but all kinds of creation are growing in a new way.
Even Stephen Colbert half heartedly recognizes this, making a short attempt to learn to knit on air.
We hold that all communities should have the means necessary to meet every essential need of their own people.
To that end, the Revolutionary Knitting Circle calls upon people everywhere to take up the struggle through the tools of local production. We shall bring forth not only our voices raised for global justice, but we shall rise together, with the tools to liberate local communities from the shackles of global corporatism.
By sharing in the skills and resources of our communities, we shall become free to cast off dependencies on global trade for our subsistence. In so doing, we shall all be able to enter fairly into meaningful and equitable trade of not only goods, but also those cultural intangibles that are necessary if we are to bring about understanding, justice and peace to truly enrich our individual lives and our communities.
I do not know exactly why Jane Palmer chose to knit at Vermont Gas. Perhaps, like me, she enjoys making each moment productive and doesn’t leave the house without her knitting. Perhaps the rhythmic, repetitive movement of their hands calmed everyone’s minds. Perhaps they were creating an installation to raise awareness of the proposed pipelines’ pathway. Whatever their motivation, knitting is part of their activism tool box.
You, too, can learn to knit. I’d be happy to teach you, and lead classes at Lucky Cat Yarns. If you’re not nearby, find your local yarn shop, pick up a book at your library or look online for videos to begin your journey.
It is time. Time to stop reading, planting, nurturing and foraging. It’s time to start my journey into natural dyes. My first bite into this aromatic and interesting exploration is to make a mordant from rhubarb leaves.
The water based, delightful tonic binds the color to the fiber – chemistry in action. A mordant’s role in dyeing fiber is particularly important as natural dyes tend to fade. If I spend my time on an art quilt, longevity and conservation are paramount. I’ll do what I can to ensure this piece will be around for a long while.
As in many journeys, where would we be without our support network? Thanks to a dear friend who shared 1.5kg of gorgeous rhubarb leaves (and even stalks to eat!).
My young rhubarb plant doesn’t have nearly as many beautiful leaves, so I’m grateful for this contribution.
With an enamel pot found at a Savers, my “elixir” topped my camping stove on Saturday night. It’s not exactly singalong or s’more style, but the desired results were attained (or at least, I hope so… wait and see the final results). After simmering for several hours and sitting in the bath all night, I hope this mordant will do the trick.
When the Studio Art Quilt Associates announced their 2017 Member Trunk Show, I had a pretty good idea of what I might send. After all, the portrait orientation letter sized quilt could easily grow from a nuno felting day inspired by the greens and blues of warm weather swimming toward shore.
The big question: How to bind this tiny quilt? I love the flowing color that comes with nuno felted pieces. A traditional fabric binding can be so stiff and angular. A facing would have worked, but I should have considered that before I cut my final size. What to do?
Somehow, the answer came to me as I babbled at our NOBO SAQA break out group… a felted binding! This time, I tried needle felting. Maintaining uneven edges, I needle felted the binding to the finished quilt top and sewed it to the quilt back. It took much longer than expected.
Turtle Grass II
Now it’s time to send this piece out for its traveling adventures. Fair winds, oh little quilt.
From a stack of library books, a quilt was inspired. The Celery Stick block from Marnie Buck and Jilly Guffy’s Quilt du Jour was supposed to quickly yield a nice big quilt top to build my machine quilting skills. Oh, well. Quilt and quick aren’t really two words that go together.
The Celery Stick block is easy to piece and scale up or down. Shopping my stash, deep night blues and yellows formed the color palette. Oh, yes, an Italian hilltop town at night could totally be an option. Many great memories of day trips to this northern Lazio town were reason to start strip cutting.
But what to quilt? After all, the whole purpose of this quilt is: 1) to play and enjoy the quilting process 2) to create a warm queen size bed cover 3) to be challenged. Then it occurred to me. I could quilt in the guild symbols of 18th Century Orvieto to build my skills.
Arte e Mestieri di Orvieto
The Guilds of Orvieto depict the reliance on textiles in 18th Century Orvieto’s economy. I remember the afternoon spent chatting with a gentleman who made terra cotta representations of these Guild mascots. I bought one as a gift. I wish I’d purchased more. So here is my quilt that is inspired by Oriveto which hung at the 2016 Rising Star Quilt Show
Vintner was one of the easier quilt shapes to dress.
Detail of the quilt top.
The Oriveto City Seal
Orvieto as it hung at the RSQ show
So think of me if you’re ever on vacation and you find you cannot sleep forever. I’m under this wonderful quilt with twinkling lights and wonderful wool batting.