A Quilt 20+ Years in the Making

A Quilt Twenty-Plus Years in the Making 

"Pennants" Design by Kaffe Fassett

I first became aware of Kaffe Fassett in 1985 when I lived in Seattle and was heavily "into" knitting and Kaffe published his book Glorious Knits.   In 1987 he visited my Seattle knitting group -- and -- remember this was before the World Wide Web was launched in 1991 -- I had no way of knowing how to pronounce his name.  As it turns out, his name is not "Coffee Faucet," as most people were prone to pronounce it, but Kafe (pronounce the "a" like the "a" in cape) Facet (like the facet of a jewel).   Kafe Facet.   I recently listened to a book that was published just a few years ago in which Kafe was mentioned, and the narrator called him Coffee Faucet.   Oh well.

Then, in 1997 he published his book Glorious Patchwork and I fell in love with the quilt on page 39 of the book (below) -- the design is called "Pennants" and I immediately decided that I wanted to make this quilt.

I started out by purchasing a yard of fabulous 1998 fabric called "Nimba" by Alexander Henry (a premium fabric house).   I  initially bought only a yard of the fabric thinking I'd be using part of it to cut into pennant shapes for the quilt, and I'd use the rest to make a throw pillow.  After hanging out with the fabric for a few days, I decided that I wanted to use it for the backing of my quilt, and went back to buy major yardage.

I used "Nimba" as the guide for the colorway for the quilt top and went into major purchasing mode.  If you're at all familiar with Kaffe's work, you know that he is beyond bold in his fabric combinations, so I decided I could be bold, too.  The fabrics (at least 100 different fabrics) that I chose for this quilt range from truly funky old "great-grandma" prints and plaids to wild Pablo Picasso and Gustav Klimt style prints. I bought mostly 1/8 yards of fabric, and they all had to be washed and ironed.

Then came what seemed like endless cutting of pennants followed by laying out the pennants to combine them into 6-pennant squares.

However, not knowing much at all about quilting, I had NO idea what I was getting myself into -- I'd never heard of paper piecing and this was a paper piecing quilt.  So I had to teach myself how to paper piece.

And I soon discovered that I'd possibly "cut off more than I could chew."  I wanted this quilt to be big enough to fit a double bed, which meant it needed to be much larger than the wall hanging quilt pictured in the book.

I went into total stall when the quilt top reached twin bed size and it was packed away in 2000 when I left for Florida to care for my terminally ill father.

About two years ago I began unearthing my UFP's and decided it was time to finish this fabulous quilt.   And I went into stall yet again.  It was an unwieldy project and I didn't have a permanent spot to set up my sewing machine and if I was ever going to finish the quilt, I needed a sewing room.  

So, it took me about two weeks, but I completely cleaned out my Fibber McGee bedroom (if you don't know who Fibber McGee is, you need to watch the YouTube video of Fibber McGee's Closet) from top to bottom, moved all my sewing and knitting gear into the room, and set up a sewing/knitting studio with a guest bed.  What a difference to have enough room to work on such a large project!!!!

I discovered that I had cut out enough fabric pennants to make about two quilts -- but I was limited in the size I could make the actual quilt by how much Nimba fabric I had purchased back in 1998.

With the quilt top finished, for just a second I thought that I would learn how to use the long-arm quilt at the South Valley Senior Center and quilt it myself.  I really like to do things myself.  But that wasn't practical -- you only get to use the machine for two days and it requires standing all day under fluorescent lights -- neither of which are good for my body -- so I researched the long-arm quilters in Albuquerque, and off went my quilt top to The Tea Cup Quilt Shop here in the North Valley of Albuquerque where it got in line behind about 30 other quilts (seems to be the average number of quilts in line at all the long-arm quilters' businesses).

I asked Brandi Perea, the shop owner, to let me know when she was ready to start working on my quilt so that I could take a few photos of the quilting in progress.  And here she is, at work on my quilt:

You can get an idea of the size of the quilt in this third photo -- part of it is folded under on the floor, and part of it is still on the roller.

And here's a close-up -- check out some of those funky old great-grandma plaids in combination with some new batiks!

While the quilt was at Tea Cup, I remained busy in my new sewing room, and made nine throw pillow covers, two bed pillow covers, and I still have enough pennants to make at least six more pillows.  What was I thinking when I cut out all those pennants????

 These are the 9 pillows that reside on my living room sofa.

Here are the two bed-sized pillow covers that are used on the bed along with the quilt.  Note the prairie points around the pillow covers (another first for me -- figuring out how to make prairie points!).

While I was making pillows, I kept thinking about the name printed on the selvage edge of the backing fabric --  Nimba.  So, I had to Google it.

Could it be a Spanish word?  Like Samba.  Rumba.  Nope.

Well, there's a proverbial East Indian tree called Nimba that supposedly bestows perfect, complete and imperishable health to everyone.  Well, maybe????

Could it be an African word?  Yep.  Nimba is a county in Liberia in Eastern Africa.  But why would a fabric be named after a county?  There is also a National Forest called Nimba.

I was so intrigued about the origin of the name of the fabric that I e-mailed the customer service department of Alexander Henry, asking if anyone currently working at Alexander Henry had been working there 20 years ago and knew anything about the origin of the name of the fabric.  A very very kind customer service rep did some research for me and discovered that the fabric came from a 1998 collection called "L Afrique" -- so -- it's official -- we're going with the African roots of the word!!

And the rep found a list of the other fabrics in the L Afrique collection:

“Masai”

“Katanga Stripe”

“Mogambo”

“Zambian Jungle”

“Zebra”

“Rain Floral Batik”

“African Diamond”

“Keepers of the Tribe”

“Zaire”

“Mongalla Geometric”

“Nigeria”

“Lake Dembea”

“Kente”

“African Stripe”
“Kamba Tye Dye”

But he had no further information as to the name of my particular fabric.

Since my fabric looks like a tropical forest to me, I've decided that it is indeed named after the Nimba Forest.  Here's a photo of the selvage edge of the fabric showing its name:

After Brandi returned my quilt top, it was time to trim all the edges -- top, batting, and backing, then bind the edges.  I was excited to finish the quilt -- and here's the final result with the two matching bed pillows atop the quilt:

If I run out of other projects during the coronavirus pandemic, I still have all those extra pennants that can be turned into yet more pillows!

St. Catherine Altoid Tin Shrine - Patron Saint of Artists

St. Catherine of Bologna - Altoid Tin Shrine

Patron Saint of Artists

St. Catherine of Bologna was an Italian nun and artist born as Catherine de' Vigri on September 8, 1413 in Bologna, Italy.

She was the member of an aristocratic family and the daughter of a diplomat to the Marquis of Ferrara. Catherine received a wonderful education in reading, writing, singing and drawing while being raised at the court of the Duke of Ferrara. Catherine excelled in painting, Latin and the viola.

In 1426, at 13-years-old, she entered the convent of Corpus Domini at Ferrara and became a Franciscan Tertiary.  Catherine was openly willing to serve the more humble roles in the convent. She was a laundress, a baker and a caretaker for the animals.  In 1432, Catherine and other young women of Ferrara founded a monastery of the Order of Poor Clares (an order founded by St. Francis and St. Clare of Assisi) where she was later appointed as Superioress.  In 1456, Catherine returned to Bologna with her superiors and the governors there requested she found a second monastery of the same Order and be the Abbess of the convent.

Catherine continued to paint and to write beautiful spiritual guides and poetry. She wrote the Treatise on the 7 Spiritual Weapons Necessary for Spiritual Warfare. 

During the Lenten season of 1463, Catherine became seriously ill, and on March 9th she passed away.

She was buried without a coffin and her body was exhumed eighteen days later because of many cures attributed to her at her graveside and the sweet scent coming from her grave. Her body was discovered incorrupt (undecayed) and remains so today.  Catherine is dressed in her religious habit seated upright on a golden throne behind glass in the chapel of the Poor Clares in Bologna.  Her skin has since been blackened due to exposure from oil lamps and soot.

Saint Catherine was beatified in 1524 by Pope Clement VII and canonized on May 22, 1712 by Pope Clement XI. She is the patron saint of artists, the liberal arts, the City of Bologna, and against temptations.

Her feast day is celebrated on March 9.

My Altoid Tin Shrine - St. Catherine of Bologna

 I had a ton of fun making this shrine.  The paintbrushes surrounding the shrine are from OffCenter -- several times while volunteering at OffCenter - organizing supplies -- they allowed me to take home all the paintbrushes that had been ruined with hardened paint.  I sawed off those paintbrushes and used them to surround St. Catherine.

The little painting on the left side of the photo of the Madonna and Child is a painting that is attributed to St. Catherine.

On the right side of the shrine at the base is a small pile of miniature artist's tools which were a delight to make -- the case of Faber-Castell pastels, two tiny paintbrushes, a palette and a tube of blue paint.

Here's a view of the backside of the shrine which is covered with metal belt links and a concho.

St. Lucy Altoid Tin Shrine

Another Altoid Tin Shrine -- St. Lucy

Lucy, whose name can mean "light" or "lucid," is the patron saint of the blind and those with eye afflictions. She is often seen with a pair of human eyes on a plate or in a bowl. In paintings, she is often depicted with a golden plate which holds her eyes and she often holds a palm branch, which is a symbol of victory over evil.

Lucy's history has been lost and all we really know for certain is that this brave woman who lived in Syracuse, Italy, lost her life during the persecution of Christians in the early fourth century. Her veneration spread to Rome so that by the sixth century the whole Church recognized her courage in defense of the faith.

Because people wanted to shed light on Lucy's bravery, legends began to crop up. The one that has passed the test of time tells the story of a young Christian woman who vowed to live her life in service of Christ. Lucy's mother tried to arrange a marriage for her with a pagan man and Lucy knew her mother could not be swayed by a young girl's vow, so she devised a plan to convince her mother that Christ was the better partner for life.

After several prayers at the tomb of Saint Agatha (a highly venerated virgin saint who also had experiences similar to Lucy's), Lucy saw the saint in a dream. St. Agatha told Lucy her mother's longstanding illness would be cured through faith.  Lucy used this information to persuade her mother to give the dowry money to the poor and allow Lucy to commit her life to God.

While Lucy and her mother were grateful to God, the rejected bridegroom was deeply angered and betrayed Lucy's faith to the governor Paschasius. The governor attempted to force her into defilement at a brothel, but the guards who came to take her away were unable to move her, even after hitching her to a team of oxen.  (Go Lucy!)

The guards heaped bundles of wood around her but it wouldn't burn so they finally resorted to their swords, and Lucy met her death.

Lucy's legend did not end with her death. According to later accounts, Lucy warned Paschasius he would be punished. When the governor heard this he ordered the guards to gouge out her eyes; however, in another telling, it was Lucy who removed her own eyes in an attempt to discourage the persistent suitor who greatly admired them.

When her body was being prepared for burial, they discovered her eyes had been restored.

Accounts say that Lucy's body remained undisturbed in Sicily for 400 years until Faroald II, Duke of Spoleto, seized the island and transferred Lucy's remains to Abruzzo, Italy. It was later removed by Emperor Otho I in 972 to Metz and left in the church of St. Vincent. There is much confusion about what happened to her body after its stay at St. Vincent's, but it is believed that several pieces of her body can be found in Rome, Naples, Verona, Lisbon, Milan, Germany, France and Sweden.

My St. Lucy Altoid Tin Shrine

Since I have several issues with my eyes, I've added St. Lucy to my personal team of Saints.

On the right side of  the shrine is a little basket filled with hand-made loaves of bread.  St. Lucy was known for feeding the poor.

I found some wonderful hand-made, hand-painted ceramic eyeball beads in a local bead  store.  Here's a close-up of the eyeballs which are on the plate on the left side of the photo.  I hadn't fully researched St. Lucy at the time I adhered the plate to the shrine base, or the plate would have been golden . . .

I also used blue and white glass eye beads from Turkey around the perimeter of the shrine.

And on the upper left of the shrine is a metal milagro from Mexico -- a pair of eyes.

St. Gertrude of Nivelles -- the Patron Saint of Cats and People Who Love Them

I grew up in Southern Ohio as a white bread mainstream protestant.  For awhile my family lived next door to the Italian Catholic Sabatelli family.  I went to public grade school and the Sabetelli kids went to Catholic grade school.  I heard about Catechism and The Saints from the Sabatelli kids and I pretty much dismissed catechism as stupid and The Saints as fairy tales.

Over the years my religious beliefs changed quite a bit and I had one of what Dr. Phil refers to as "defining moments" in my life when I started studying in the Sufi Order and my teacher told me that "God didn't have to be anything that I ever thought he was."  That one sentence pretty much blew my mind and totally changed the way I viewed my own religious beliefs and the beliefs of others.  

In my adulthood, I traveled in Catholic Mexico quite a bit and lived in Puerto Vallarta for about three years where I was exposed to many more stories and beliefs about The Saints -- learning that they were indeed real people, not fairy tales, and that in order to become canonized as a saint, they had each performed at least three documented miracles.   Every town in Mexico has a Patron Saint.  Every occupation and trade has a patron saint.    Here's a quote from Wikipedia about Patron Saints:

"A Patron Saint . . . is regarded as the heavenly advocate of a nation, place, craft, activity, class, clan, family or person. Catholics believe that patron saints, having already transcended to the metaphysical, are able to intercede effectively for the needs of their special charges."

Now that I live in New Mexico, a very Catholic State, I continue to be exposed to the culture of Patron Saints and we even have Saints who are "popular" in the Southwest,  There are many artists in New Mexico whose work consists of making southwestern style saints. -- paintings, bultos, retablos, carvings, etc.

I first encountered St. Gertrude of Nivelles (who was a 7th Century abbess) on a greeting card designed by Barbara Barrett in Papers! -- the decorative paper store where I worked and taught classes for several years.  You can see Barbara's greeting card work at thekaleidoscopedesigns.com

I

I decided that my second Altoid Tin Shrine would feature St. Gertrude.  St. Gertrude  of Nivelles (there are two - the other is Gertrude the Great)  is also the patron saint of the insane and gardeners, so maybe that also explains why I was immediately drawn to her.  Ha.

This shrine is constructed in the same style as my Virgin of Guadalupe Altoid Tin Shrine -- removing the lid from the box, etc.

St. Gertrude stands in her gold glittered nicho, holding a kitty, and two (button) kitties frolic on pebbles in front of her.  I covered a royal jelly glass container with blue glitter, and the container holds the whiskers of my beloved Houdini who had some amazing whiskers that I'd find around the house.  The whiskers lived in a glass spice jar until I made this little shrine -- a perfect spot for them. 

Here is my big boy Houdini, now in Kitty Heaven, in one of his favorite spots -- right in the middle of my work table.

Back to the shrine -- add some flowers, leaves, sequins, beads, metal corners and studs -- and there you have my Altoid tin shrine #2.

Shrine #3 is a second Virgin of Guadalupe shrine which I gifted before taking photos of it.  One of these days I'll have the opportunity to photo it and add it to the blog.

Watch for Shrine #4 to be added to my blog soon -- St. Catherine of Bologna, Patron Saint of Artists.

The Virgin of Guadalupe meets an Altoid Tin and some Pencil Stubs

I had been saving pencil stubs for several years -- wanting to use them on one of my 2-D mixed media collages as the rays emanating from the Virgin of Guadalupe.

As you might guess, this becomes another story of "art takes a detour."  

Those darned pencil stubs just didn't want to lie flat on a 2-D canvas -- they wanted to express themselves in 3-D fashion.

Thus begins the saga of The Virgin of Guadalupe meeting an Altoid Tin and some pencil stubs.

I first deconstructed an Altoid tin -- removed the lid from the base, gessoed both pieces, then painted them gold.

I used one of my favorite images of the Virgin of Guadalupe in a blue robe -- 

trimmed her and Mod Podged her, and mounted her in the bottom portion of the tin into which I had glued lots of gold beads.  The sides of the shrine are embellished with beads and flat-back rhinestones.  A molded gold angel and separate gold paper foil wings are mounted in front of the Virgin.  And I gave her a Jolee's Boutique gold crown

The Altoid tin lid forms the base of the shrine -- which is embellished with gold studs and rose-shaped buttons that I painted red.  

The pencil stubs are glued to the back of the shrine and a rather nice large junk jewelry clip-style earring (with the clip removed) covers the area where the pencil stubs don't quite converge (there just isn't room for all those eraser ends).

I've already made five more Altoid tin shrines.  I'll get them photographed and added to my blog.  And there are two more in progress on my work table.  I guess I've started yet another series!

2017 Little House Silent Auction

2017 Little House Silent Auction

OffCenter's Albuquirky 2017 Little House Silent Auction will be held this year in Albuquerque at the Sumner & Dene Gallery at 517 Central NW on Friday, May 6 from 5-8pm.  Help fund OffCenter Community Arts Center by coming out to the grand event and purchasing one of the 100+ little houses donated by Albuquerque artists.  The silent auction will be in conjunction with downstairs openings for artists Frank McCulloch and Friends.

My submission to this year's silent auction is a little out of the ordinary for me.  It is titled "Surfer Girl" -- I've never been on a surfboard in my life, but I have lived next to the ocean . . .

You can take a look at my post from last year to see one of the 4x4" "blank" wooden forms provided by OffCenter.  And, if you want to see most of my submission to the Little House Silent Auction over the past years, click on the "Little House" label to the right and all of those posts will come up.

Here we go with this year's submission:

For the 2017 auction, we were limited to a "footprint" of 6" x 6" -- so my 4" x 4" little house sits on a white sand (handmade paper) 6" x 6"base.   I really wanted to have the little surf shack be in white sand, but didn't want to create a mess, and was extremely happy with how well the handmade paper worked!

I roofed the house with pieces of extremely skinny bamboo -- a little over 1/8" diameter pieces.  The window frames and front door are also bamboo.

Each corner of the house is covered with tiny little white shells.  I made a front door mat that has people footprints and kitty foot prints.  (Surfer Girl's kitty is sitting in the shade under the clothesline on another side of the house.

I found a package of really (and I mean really) cute flip flop embellishments.  A pair of purple and blue polka-dot flip flops sit by the front door, and another pair is on the clothesline side of the house.  A pair of sunglasses sits on the windowsill next to the "Hang Loose" front door.

Surfer Girl's clothesline sports two bikinis -- one with a shell bra and a polka dot bikini to coordinate with her palm tree flip flops.

Her surfboard is propped up on the side of the house next to the windowbox, along with a pair of her swim fins.

And, finally - the fairly nondescript back side of the house with a palm growing out of a pile of shells.

Art in a Lid

Art in a Lid

Here in Albuquerque, the National Hispanic Cultural Center hosts a "Happy Arte Hour" each month.   I thought that the Arte Hours would be too "chi chi" for me, so I had never attended -- until last month when Cynthia Cook was the featured artist -- the Arte Hours are usually connected with a current show at the NHCC and Cynthia's work was being featured along with 3 other artists in a collage show entitled Fantasia Fantastica.

When I heard that Cynthia was the featured artist for Happy Arte Hour, I finally broke down and decided to go.  And, as it turns out, the event is not at all chi chi -- it is quite informal and relaxed and attended by a lot of "makers."

If you haven't seen Cynthia's work, she usually works quite small -- often her assemblage/collage pieces are the size of an Altoid tin or smaller.  Cynthia doesn't maintain a web presence, but you can do a google search and find a few images of her work,

Round tins with about a 3" diameter were provided for our use for our art projects, but with my funky left thumb that only bends about 30% of what it should bend, I have a challenge working that small.  We were told that if we wanted to work larger, to bring a tin.  I had just been given a vintage green and red Christmas tin (fruitcake?) with a 6" diameter that I took with me to use.  Here's the backside of the tin lid:

We were given some general instructions and turned loose to find images for our project.  I had brought an image of a vintage vamp that I wanted to use, along with a seed pod from a trumpet vine and some distressed marbles that I had found while walking/gardening.  Now there's a strange combination of items . . .

While searching for images, a theme of "round" began to emerge -- I was choosing only images of round things or images containing round things.

So, here is what I ended up putting together:

My vintage vamp is pressing forward and and wading through a collection of  very large bizarre round objects.

I loaded up the trumpet vine seed pod with the distressed marbles,

and when I got home I drilled 3 holes in the rim and added some round beads on head pins going from the outside of the tin to the inside of the tin, covered the rim textured braid,

and used a fine line of champagne colored glitter glue to highlight the edges of some of the round things.

I experimented with a few additions to the piece, but decided it was finished,  and named the piece "SurROUNDed."

I tend to like to make things in a series, and I already have another tin lid waiting for me to create a companion piece.