One Quilt -- A Dozen Fabrics for the Binding

 My quilt "Ethnographic Museum" is not very large, about 4x3 ft. I decided that it is finished, though it will never have bed-size; But some things don't improve when being enlarged. The reason is probably that there are plenty of details which don't allow it to be larger.

 The last part I did is the row of triangles on the right side of the view below. It is a convincing signal to walk upstairs, as you can find it in many museums. The quilt now starts with a strong clockwise movement, driving left. Must be a British museum.

 And now, I'm almost finished with the binding. As you can see in this picture, there are different fabrics instead of framing the whole piece with the same fabric. I just could not make up my mind. I also thought that the jeopardy of materials should be continued allover, this might harmonize with the character of the whole piece better than an "orderly" or conventional binding.
I might even turn this method of binding into some kind of personal brand.

P.S. The colors are not quite as bright as in the first picture which I took with a flash light. They are more like the 3rd pictures shows them, a little more subdued, looking vintage more than any other I made.

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.

A New Thrill

This work of art is named "When I grow up I want to be Mark Rothko", or, in short: The Markobile. Pronounced like an Italian/Spanish word. A Vassilobile is being planned, possibly also a Pietobile, a Paulobile and a Kasimobile. In most cases, I don't make real what I announce; in case I don't, I'll sell the names to some mobile producer. The first one to build these things was  Alexander Calder, who also invented the name (pronounced mo-bee-lay). This one is beautiful and a lot more complex than mine.
I used to do such things as a teenager. Later, I never knew how to be patient enough to balance that out. And I did not feel able to manage fumbling with small things. But quilting has given back some of my old skills. It is funny -- now that I am 62 today, I feel like going back into former stages of my life.
And this is a resting unfinished quilt.

Connected

The parts are connected. I wasn't sure, because there was a different height between the parts. This method is quite flexible and forgives all kinds of tricks.

It is only two steps from New Mexican pottery to Japanese calligraphy -- what does that mean? I feel that all art is connected in a secret way, so I broke down the walls that usually keep continents apart, even in museums.

Japan is in the news every day.

Japanese calligraphy on fabric

"A walk in town"

One of my fabric treasures is this print by Rayna Gillman. I was very happy to get this. It will be part of my museum quilt. And I started a painting again, using a piece of cardboard from a packing. A shirt or what. Very plain brown paper, stiff enough to paint on it. I'm eager to get such material, it is a lot more inspiring than clean white sheets. Of course, I will leave parts of the surface uncovered. It is simple, it is primitive. I hope it will influence my style.

It is growing

Like a shell or a tree, my quilts grow slowly, starting in the middle. No finishing of a top alltogether; instead, strips are being "wrapped" around the center until the desired size is reached. In the end, there should be a backing, but that's the most difficult part – the reptile quilt is still waiting to be finished. :-(

Fiddling with the tiniest scraps

Sometimes when I see pictures on quilters' blogs showing inchies, I wonder how the ladies find the patience to do this. Lately I have come to finding pleasure in the challenge of smallness, also trying to use every snippet of my treasured fabrics, knowing there is no supply, once they are used. On the other hand, it is possible to reproduce some of the patterns by ordering a reprint, but the result is not satisfying, the feel is different. Sometimes I'm ridden by regret to have discarded so many fabrics before I started quilting.
Sometimes I tell myself to be more confident in the richness and reproductive power of life. Generally. To trust the unity of spirit and to feel embedded in the flow of life instead of clinging to what I cherish for being unique...

Somber days

An unusual meeting of crows, being a kind of answer to my mood and thoughts and the news I'm listening to.


Another bird, brighter and more sumptuous, came to me and received a little house.

 

It is meant to be a tiny tablecloth for all kinds of use.

The reverse is a Makower fabric which I think is one of the most beautiful patterns ever.

This is how far I got with my museum quilt; it is a multi-directional quilt, not really meant to be hung on the wall, but rather to be used and turned around. As I prefer quilts to be.

Treasures

 

Inspired by the Cucuteni culture in a book about ancient goddesses, I found my museum being transformed from an ethnological into a historical one. Here is more about the connection of ancient sculptures and the female organism. The scraps on top are just perfect to create the look of aged parchment and to go with hand writing.

Korak piecing allows the use of very small scraps.

Flying Geese?

There isn't much choice of patterns in the technique of korak. Diamonds, Log Cabin, Flying Geese -- that's about it. In this case, it is rather Walking People on the corridors of the ethnographic museum.

Why "Ethnographic Museum"?

Also this quilt will be a semicalligraphic one. I am adding excerpts from a book which was printed in 1833. I copied some paragraphs in old German handwriting. It is named "Journey around the world" and contains short descriptions of countries and people.

I might also add some more drawings with the character of "primitive" art -- I used a textile pencil and ironed it.

Surprises from the depth of our wardrobe

I started the backing for the reptile quilt with a golden frame, not thinking about what is in my stash. Going through my drawers, I found this fabric I bought on the Berlin flea market. The size is sufficient, I can even keep a part of it. I wanted a one-cloth cover, and this is close to it.

Just when I was thinking where to get base fabric from (which I need for the korak method), my husband offered me old bedcloth, enough for the rest of my life. And this is exactly what I need: Cheap and slightly worn-out cloth, no jersey, but woven cotton. The stiffness should be gone, and it should not be too good to be covered all over, not as stiff as normal quilting fabric.
It is ugly enough to be stamped or printed on and provides a basic pattern to work on with. It is stuff that has been used by someone I love -- I would find it difficult to incorporate something which comes from a person I don't know anything about; as for worn cloth, I have to trust a person to integrate material from her/him into my work.

And now, the ironing starts... yikes. And it takes a lot of discipline not to go on with my fun quilt (named Ethnographic Museum), but to finish what I started...