Ethnographic Quilt, Close-Up

I showed you my "Museum" or "Ethnographic" quilt more in a survey recently; now, as I proceed, I like to give you some close looks which probably make your hair stand up about the irregularities of my stitching. Actually, I don't plan, but improvise; I don't iron, but fold and press the edge with my fingernails; I keep it on my lap or on a small wooden board which you can see in some of the pictures when I find it a nuissance to cut up my thread because it went through the tablecloth.

I enlarge the quilt by adding strips as a support for
the new piecing

Instead of ironing small scraps, I fold them by sharpening

the crease with a fingernail.

Looks almost like ironed. But I did not burn my fingers.

As you see, the edges are very irregular and torn, they
need an equalizing strip.

Fine steel pins are indispensable for this technique.

I connect the pieces with very small, bead-like stitches.

These bridges are split by another seam for a 3D-effect. They
also make the whole piece more flexible.

Sometimes I added very small appliqué bits which become
3D when surrounded by quilting stitches.

Here, I integrated the appliqué into the print on the fabric.

Very small scraps can be used in this mosaic piecing.

The Museum of Ethnic Arts as a Temple

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.

Taking up a UFO

You might remember the quilt I started a few years ago. I called it the "Museum Quilt" because it is about symbols, as they can be found on ancient artefacts, and partly are authentic, partly invented.
I took working on it up again, after finishing my latest quilt, because I thought it should be continued.

A divine couple, partly taken from very ancient pottery

A Japanese calligraphy from Rayna Gillman's stash

Critters out of Wanda Hansen's scraps

Mountains that Yael Eshkar gave me

I apply the korak method which allows me to connect the pieces rather informally. It will be full of stories from long forgotten times -- or modern whimsical fiction --, when I'll finish it.
Coming back to an old task (this one was started about 3 years ago) can be quite inspiring.

More from the park

On the wooden planks of the tea house

I told you about a park in our city, so to speak, our central park. Today I displayed another quilt on a few places.

What makes me sad is the indifference of people who drop their empty paper cups into the waterfall and carve graffiti into the teahouse beams.

Does a corner of the quilt really dip into the water? Yes -- on purpose.

In the rose garden, I took some more pictures of the baby quilt.

 Quilt, roses, and cobblestones

The reverse of the above quilt