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.