sweet--day 9

Checking my e-mail is always exciting. Usually it is the same old same old so to speak. But occasionally I get one of those lovely surprises.

When I make a quilt I do believe that it has a home--and it is just a natter of waiting until the quilt and its home find each other. This was certainly true of my quilt--sunrise.

I loved the simple but complex colors of the sun rising above the water. There was a wonderful graphic design to the piece. When I was making it, I had to concentrate to get the two sides to be similar but have enough difference that the quilt had a life to it.

At 30x80 inches it could look fabulous over a king size bed or a large sofa. It could be an accent on a hallway. However, the size made it more difficult to show at a craft fair as it would dominate the wall but leave a lot of unused space around it. It looked great when I hung it in my studio but again it commanded a large wall. So I waited.

Until this week-end when I got the e-mail. Ta da. My theory is proven true again. Soon the quilt will be in a new home although I confess I will miss its presence. Don't you love the light dancing on the water? And the reflections of the sun in the sky?  Isn't it a happy quilt?

sunrise--quilt--30x80 inches--Ann Brauer--photo by John Polak

Thanks Etsy. I do love opening my mail. To see more of my quilts and check out my Etsy shop http://www.etsy.com/shop/annbrauerhttp://www.etsy.com/shop/annbrauer

what's it all about--day 7

Sometimes I just want to make a fun happy quilt that tells a story. Is this quilt about relationships? Two "suns" in a joyous meadow? Are these two flowers in spring? Is this the lost planetary system with two suns and its own earth? Is it two views of the same "sun"? Does it even matter? What do you think?

two sun--quilt--ann brauer 2016--photo by John Polak

but what is it all about?--day5

Sometimes I make a quilt just because. Just because I am curious about what it will look like. Just because I think it tells a story although I am not sure what the story will be. Just because there is a feeling that I can only capture by creating this quilt.

Does this ever happen to you? Does this help you find the story?

That is why I made this quilt--"above the desert". I loved the idea of floating above the desert letting go and just being. I think of it as creating a calm and serene place although a friend of mine whose artistic sense I trust found it to be a bit troubling.

What do you think? What stories does this tell?

above the desert--27x61"--By Ann Brauer 2016--photo by John Polak

detail--above the desert--Ann Brauer 2016--photo by John Polak

Isn't it time to "Journey to Merryville"?

Have you ever been to a gallery show which was so enchanting and rich that you just wanted to linger there forever? One of those shows that stays with you long after you have left and makes you want to return time and again just to see one more detail--one more angle. To make sure you can thoroughly absorb the layers and layers it has.

Well, let me suggest a show you will want to take your friends, your children, your grandchildren,  your friends grandchildren or basically anyone else to over and over again. It is "Journey to Merryville" by the artist Lilin Tseng now showing up at the Salmon Falls Artisans Showroom in Shelburne Falls through September 2.   Now in all fairness to my readers I must admit that I know Lilin--although only slightly. After all, she has long been known for her wonderful perfectly executed dolls.

But this is far more than a doll show. This is a place inhabited by 20 characters who each--regardless of who they are--enjoy every moment to the fullest while being totally themselves. And just to give you perspective--these characters are about 20 inches tall.

Anyhow there is Muffet. Haven't we all met her? Do note the detail on the finger nails. Don't you just love her ruffled collar?

She is indeed sitting on a Tuffet talking with--of course--her friend Puffet. Yes, I know her too. And you must see the complete assemblage to thoroughly understand how wonderful it is.

Behind them is Madam Moth--based in part of the opera Madam Butterfly. (Yes, you will want to read the entire story about this character. I won't spoil it for you.)

Again note the fingernails. And of course the oh so perfect moth.

There is Cat Woman.  Yes, she has a mechanical crank to turn her tail though of course one would never ever turn it in the gallery. How long did it take Lilin to perfect that!

This is the "fur". What attention to detail and complexity. This is painted wood. But try to imagine that process--so painstaking and exact.

And of course Bow Wow Wow. So himself. So full of attitude. His necklace is a beaded dog. His pants hang down--as in way down.  Probably banned in several communities. But he is so full of himself and his world. I believe she even made the sunglasses. Wow!

So have you noticed anything similar about these characters? Not just their attitude but all the faces are made from the same mold that of course Lilin sculpted and then molded in resin. Amazing isn't it?

One more I loved was Poppo. Yes, this is Pippi Longstockings grown up. Don't you just love her smile? I didn't snap a picture of her longstockings but of course they were hand knit just for her legs. Can you imagine attaching those buttons?

OK--I can't include them all. She even made a character which is a self portrait of herself. How lovely and revealing it is. And of course on the walls are paintings of the characters of Merryville to make the show even richer.  So do--if you are even thinking of making it to Shelburne Falls this summer visit this show. Indeed I suggest visiting it once--then taking the time to read the wonderful hand out that describes each of the characters--and then looking again. After all, don't you wanted to see the needle felted dog or the hat made from a tea strainer? Yes this show deserves a larger venue with a greater audience (hint to anyone out there looking for a great show). But this will be the best time to see this work in such an intimate setting. For more information on Lilin and much better images her web site is: http://merryvilleart.com/index.html


And of course if you are in Shelburne Falls, you can walk down the hill and over the Iron Bridge to visit me in my studio so long as I am not at a craft show. Gee, I bet you were wondering when I would get that in.

And you--have you seen the show? Were you as awed as I was? Any other hidden must see shows that you can recommend?

Wordless Wednesdays--the fungi edition

OK--I confess. I was walking up to the garden to weed--not necessarily my favorite thing to do--but sometimes all too necessary, when I noticed the mushrooms growing on the tree stump. Now I have no idea what they are. The tree stump has been there for years--probably a pine tree though I am not sure by now. And the mushrooms--or maybe they are some other fungi appear regularly. I always look forward to seeing them. So ornate they look like a wild tropical flower. A story for a children's book. Every year I stop. Every year the shapes are so different. Bowls or vases. Flowers.

Aren't they wonderful? Like the skirts of a can-can dancer flaring up with the swirls and kicks. Or maybe a daffodil from some other world?

Then I look and see another mushrooms. What strange little markings on its top. What are they? Does it even matter? Hmmm.

On the garden path I notice more mushrooms that look a daisy made of wood. So much detail in each one.  A happy form of anemone?

OK--this is getting fun. So much for the weeding. That can happen tomorrow--right? A darling little mushroom in the grass--so dainty I almost miss it.

The pleats on this one--modern and perfect. Yes, this one would almost make a nice white on white quilt, wouldn't it? (You see I never go very long without thinking about quilts do I?)

I see one so dainty and poised it seems to stretch forever.

What fun this was. Could I find one more before I headed to the studio? I walked in the woods. Yes, where I remembered them. The haunting white of the Indian pipe. At least that is what I call it.

I always hope to find them at least once a year. And then it was time to head down the hill. But what a nice morning it was. Certainly I don't know anything about mushrooms or any other fungi--and would never ever dream of eating them unless I had a well-qualified guide--but there is something about just searching for the different shapes and sizes of these mushrooms that made the morning so magical and complete. Have you ever done this?

it's a small small world

I was about to post that only in New England could one hike to the top of Bromley Mountain and discuss Afro-futerism and Sanford Biggers installation work The Cartographer's Conundrum at Mass MOCA--but then I realized that my DH and I were speaking with a young man who had started the through hike of the Appalachian Trail in Georgia and was headed for Mt. Katahdin in Maine.

Of course I loved the original piece by Sanford Biggers cousin--John Biggers. How could I not? It is about quilts and their significance to the African American community. It turns out John Biggers was one of the first African American to receive a UNESCO grant  to travel to Africa and study the many patterns and designs there. His cousin Sanford decided to learn more about John by following the travels that John did and trying to understand them. The term Afro-futurism was coined to describe this incorporation of African patterns into contemporary American art.  There is also a link to technology and music. So much there and so much I don't know, my mind spins with the possibilities.  But of course you don't even have to know this background to love this mural by John. So rich in color and emotion it haunts me even though it also humbles me with my ignorance.

I also loved how the younger Biggers took this image and the feelings of being uplifted and translated them into an installation piece that filled the entire HUGE room at Mass MOCA.  To my mind the very act of its visualization and actual creation was fascinating. One could walk through the installation getting closer and closer to the music and the joy that you could almost feel as the pews rose into the heavens. There were patterns of tiles on the floor. Broken stars of glass leading the way. Worn musical instruments providing a path to the end of the hall with the pews rising and the focus on a large melange of worn fragments of musical instruments and memories.

Then the video upstairs put lots of these feelings and the diaspora from Africa together in a manner that I had not entirely realized until I was on top of Bromley. Funny how things work sometimes isn't it? Now I want to see the show again. It runs through the end of October.  For more information  check out: http://www.massmoca.org/event_details.php?id=666http://www.massmoca.org/event_details.php?id=666

Have you seen this show? What do you think? Don't you love it when a chance conversation can help enlighten you?

what is it about patterns and stones?

I knew as soon as I saw the listing on the map for Stone Village I just had to figure out what it was--wouldn't you? There is something so essential about stones. And also that mystery of being on the map? What was it?  Instead I read that it was a small enclave of houses all built using "snecked ashlar".  Don't you love that phrase?

Anyhow the stone came from a nearby hill in slabs about 4 inches thick and the larger stones were held in place using a method called "snecking". This is a Scottish term that means the stones are locked together with the smaller stones and then a mortar that could be mixed with moss or horsehair was used. The stone is a granite often speckled with mica called ashlar.

OK--I had to see it. The first place we stopped was the First Universalist Parish. What a lovely building, it is isn't it?

 Just look at all the patterns of the stones. Such an endless variation. So many design possibilities.

Maybe it is because I am a quilt maker I had to stare at the many patterns and resolutions. So many ideas here. The colors of the stone. The rhythms.

Luckily the church was open. Inside they had just finished a renovation. It was one of those glorious open New England churches. So serene and peaceful. With the ceiling reaching up in its simplicity. Just a bit of the previous wall paper was visible in the corner.  I was fascinated by the simple designs of the pews. More stripes as you can tell.

The church had been built as a Universalist Church in 1845 with the Town Hall in the basement floor. To maintain the separation of church and state--yes, that was so important back then--there were separate entrances with no stairways connecting them, the current minister told us.

Further, in the literature the requirements for building the church included the necessary materials and of course "a barrel of rum". The total cost was $1766.

Stained glass windows were added later. OK--should this be my epitaph?

For more information about the church and the congregation you can check out http:www.chestervtuu.org

But then it was time to move on and see some of the other buildings. They all looked like they were in use. Some were private houses and some were art galleries. Each one was different. Built in a Federalist style and all were visible from the street--although there is no sidewalk on one side of a rather busy road so use care. I loved the simple regularity of this building. Great placement of stones.

Because of the construction techniques the doors and windows have extra wide portals. Doesn't this house look stunning with the black shutters.

 Looking more closely I admired the care used to select the stones that arch over the door.

 

This home used white shutters. I was fascinated by all the different colors of stones used. Sweet isn't it?

 

 Even the garage  of this grand building was constructed of the stones. What a presentation.

And then of course there was the one black stone in this portal. See it in the upper right hand side.

But then the rains came in earnest and it was time for some lunch. What fun though discovering this little bit of history. The Stone Village is in Chester Depot, VT and on the National Register of Historic Places.  Yes, there is also a depot there. Apparently it is walking distance from the town of Chester where I confess there is a fabric store and a wonderful looking bookstore. So much to see. So many patterns to contemplate. And there are more stone buildings scattered throughout this area. Oh so much to see and do.

Have you been there? What hidden gems do you know?

Oh Canada

What is Canada? Is it the queen? Or hockey? Long nights? The great northern lights? Or the open prairies? The benign neighbor to the north? Above the 49th parallel. Or more?

I admit I love Mass MOCA--the very large contemporary art museum so near by in North Adams, MA.  Their new show--Oh Canada--attempts just such a definition. Apparently there were about 400 visits to different artists studios and galleries in Canada looking for the best most provocative work. And what a show it is.

I loved loved loved this large latex sculpture by Kim Morgan called Range Light. Like a giant sail it stretches up to the second floor. So complex and shimmering it dominates the space.

But look at all the detail in latex. So carefully manipulated.

From the second story you can even see a door painted onto the latex and more great texture.

Listen with ear phones to the video production off the side of the large room in the first floor. It is tucked away under this scultpture. Asking in such a jaunty manner--what is Canada? Made me ponder and set the tone for the whole show.

Another piece I loved in the same room is Lookup by Wanda Koop. Again this stretches way way up with the colors and the rhythms just dominating the space. I love how it dwarfs the viewer but made me also want to stare and examine each color.

There were some wonderful ceremonial spaces and ritual objects. I took images but I couldn't capture in my camera but love the image that lingered in my mind. Some provocative drawings by the native residents on their contemporary life that I found almost heart wrenching in their poignancy. References to the dark starry nights and videos of the wind on the prairie. Another video of a ceremonial dance that kept me absorbed in the motions and colors.

I loved this large drawing of the textural slap of clay by Hans Wendt. Yes, this is a flat watercolor but the art just pops out of the frame in its perspective. This is just a detail but isn't it amazing?

I also liked the two contrasting scenes in these paintings--one of the pristine arctic and one of the ruined arctic although I failed to get the name of the artist.

Some great photographs. Some just lovely in the scenes. Others manipulated to convey a message. Lots more videos and installations. One a very dark room that you have to acclimate your eyes to see the wonders. Some pieces that I still do not understand. Shouldn't there always be work over my head? Do find the windmills of water bottles. Stunning.  And of course look for the coins carefully hidden in the corners.

So much to see--such a rich and varied exhibit. Have you seen it yet? What were your favorites? Have you seen any other great shows this summer? Here is the link to the show--it runs through April 1, 2113. http://www.massmoca.org/event_details.php?id=663

how long does it take to make a quilt?

Isn't that one of the questions that we get asked so frequently? Such a seemingly innocent question--but so hard to answer. "A life time" is certainly a true answer, isn't it--although maybe just a bit snarky. An actual calculation of the time it takes to sew the quilt is another answer--but what about the design time, the thought time, buying the fabric--it does add up. Sure I can do a guestimate--after all, I am a business person--but is that really accurate either?

Currently I am working on an order for a wonderful couple in the Carolinas. They saw my quilt ancient light. You may remember this one.

Ancient light--45 x 45"--copyright Ann Brauer 2011

Lovely quilt--the pops of light just draw the viewer in. I call this quilt ancient light because I was thinking of the mystery of the early caves. But--and as you may have learned there is always a but--the quilt is for their bedroom. A light and airy space with views of the Blue Ridge Mountains.  Now, I did try to make this quilt a few months ago. Even blogged about it here but while vernal light is a wonderful quilt--it sure does not feel light and airy, does it? http://annbrauer.blogspot.com/2012/03/second-time-around.html

So I thought and thought. Would contemplate the quilt in those odd moments. Doing repetitive hand finishing. The early, almost awake time in the morning. The clients--such wonderful people--sent me paint swatches and colors of the rug. An almost dusty grey green. Gorgeous and soothing. And the color of the bathroom--much more spring like. They suggested that blue on the bottom would reflect the ocean and the mountains.

Hmmm. Well, I just had to work on the quilt. Maybe if I started with a dusty blue on the bottom the quilt would come to me. Nothing to lose by trying.

 Not bad. I keep the paint swatches by my cutting board as I test the fabrics. It is hard to get the greens and greys to be just right. But I note that while the colors of a single block look dubious, a row of them does create an interesting color.

 And the next row begins to define the quilt.

Now if I can only keep my attention focused as I move further and further up the quilt. But luckily I do have the concept. The color palette. My answer to "How long does it take you to make a quilt?" is often a grin and the truth "The sewing is the quick part."  And usually I don't explain that sometimes I have to make more than one quilt to get the feeling just right, if you know what I mean.

Does this ever happen to you? How do you answer the question?

 

patterns, rocks and the ocean

No, it was not a vacation although we tried to think of it as such. But one of those visits that a person simply must do. The aging father-in-law who won't even remember that we were there the next day. Except that he will have had that special moment--a break in his routine--a time of peace and safety--apart from the endlessness of his days. And we know we will have given him some happiness and done what we should.

So with considerable effort, we took him to the ocean. He had been a Navy man after all and later chose to live as near the sea as he could. Sure he could not leave the car. Could not even turn to watch the surfers catching the waves just off shore. But there was that timeless rhythm of the waves crashing against the rocks.

The endless promise of far horizons and distant islands that held memories of past visits. As he sat watching entranced by the motion of the waves, I was drawn to walk on the beach itself. I had to walk closer to the water. I had to get that moment of sustenance.

I simply must walk along these rocks. All the same size. Layered and arranged by waves of storms past.

Why am I drawn to these patterns? So many colors and variations. I want to hold and study each one of them.

Something so universal and calming. My eye focuses on the black rocks that seem to define the space.

I find the magic of this circle--was it the nest of an ocean going bird long abandoned? The play of a child? It was not made by happenstance. There is only one of them that I see. But it clearly is there. So many mysteries.

Soon it is time to turn back. The father-in-law needs to be returned to what is now his home. He tires easily and supper comes early these days. But still I feel comforted by the rhythm of the ocean. Soothed by the endless variations of these stones. Their seeming permanence and substance as stories become unspoken.  And since making quilts is what I do, I ponder the patterns of these stones and the piecing and stitching  of quilts. I wonder how I can capture this feeling in a quilt. Why are we so enchanted by these rocks? Why do they reassure me? What do you think? Does this ever happen to you?