The Museum Quilt project takes me to holy places. It is a confrontation with the things and symbols that our ancestors or people or tribes thought to be magic or sacred. I wonder if the people who are in charge of such objects are aware of it; to them, they are precious as rare artefacts, evidence of craft and skills, intelligence, or artistic height. Some museum directors (like in case of our local ethnic museum) seem to be aware of the spiritual radiance of their objects and let also events take place like the exposition of Buddhist relics.
By making this quilt, I am aware of effects that go beyond being playful.
A portrait of the goddess Kali, crowned with African style fabric and surrounded by other, mainly floral scraps; an explanation in old German writing, portrait and writing by hand.
I have to be careful to join in the style of the quilt that I started with. I starts looking different already.
A drawing of a couple is the center of another panel. You can look at it upside down as well, because a quilt, when lying flat on a bed, can be turned either way. I prefer quilts on beds. The female person or goddess was taken from ancient ceramics of Sumer culture. I gave her a consort. They both step on a scorpion to ward off evil, and I see them as divine teachers and donators, the male one bringing the light and mammals for domestication, the female with plant sprouts and birds.