Where did that term come from? The first time I ever heard it was in the movie ‘The Wizard of Oz’ but the context left no doubt that it was already a phrase in common use.
But I digress, this may not be a horse but rather a non-traditional rainbow. Just look at what I picked up at Quilt Market last weekend in Portland.
I visited the Valdani booth where I had a lovely chat with the owner, Dana, and showed her some of my embroidery; one of her helpers in the booth took this picture of me and the rest of the Valdani staff there.
I love Valdani threads and have been using them since I first discovered the 35 wt quilting thread in a little shop in St. Helen’s Oregon about a decade ago. they make luscious variegated threads in color combination you just don’t see elsewhere like one blend they called Cold Lava – a blend of black, sapphire blue and a rich rust color that quilts up beautifully (see the close up of a border below).
At the show, I bought a few new colors of the quilting thread (what – they actually have colors I don’t already own???) but mainly I added to my collection of embroidery floss. This six-strand cotton floss is soft and silky in texture and the variegation subtle which I prefer as opposed to drastic color shifts that can make the work look splotchy. Valdani also makes this floss available in three-strand balls for punch needle and other work where a finer floss would be preferable. I can’t wait to work these into a project.
This is my latest Embroidery project – Van Gogh By Thread! I gave a class to my embroidery group last month on creating little scenic still life themes with embroidery; for my own project I chose one of Van Gogh’s Sunflowers paintings as inspiration. The stitchery was done mainly with six-strand floss (with a little pearl cotton) onto wool felt. The panel, which measures about 10″ tall by 6″ wide, originally started square but ended up wonky with the distortion the stitching created, I probably could have kept it more squared up with a stabilizer beneath the felt but I really like the asymmetrical presentation the way it turned out.
The entire embroidery was done on the improv – no preliminary drawing, I just picked up a needle and started stitching by eye so my rendering is not an exact reproduction of the painting, just a similar arrangement. It was challenging but fun and I think I’d like to turn this into a class if people are interested. I want to explore more of Van Gogh’s paintings for future projects, maybe one of his landscapes. His work is particularly well suited to this because of the brush strokes he employed – they are perfect to represent in stitching. Once again, I will simply improvise by eye rather than draw out a detailed master plan.
The last decade or so saw the rise of primitive wool stitchery and applique in the American quilting community. Initially, the trend was leaning to a style of Americana Folk Art but now with the rise of some stitchery superstars like Sue Spargo and Leora Raikin, other cultural inspirations have moved into the limelight, particularly African Folklore Embroidery. These embroidered panels originated in South Africa and feature images of people, animals and everyday objects rendered in a rustic style rendered with simple stitches.
I, too, have explored and used primitive folk art as a springboard of inspiration since my youth. In the 1970’s, I was enthralled by art from India and the Middle East. My grandmother and great aunt and uncle traveled quite a bit and brought home trinkets and treasures from exotic places. I still have a painted wooden box embellished with a tapestry of wood-burning designs that my great aunt and uncle brought me when I was 12 years old from some eastern country; this box is used to distribute chocolate at my workshops. Another treasure that hangs on my wall is a carpet from Iran also presented to me by me great aunt and uncle. This carpet is not a traditional floor covering but rather one that had been woven as a tent divider, the pattern is identical on both sides and it is woven with a short still pile of camel hair.
My grandmother preferred to travel in Europe and Australia and to this day, I regret that I had no interest in Aboriginal art when she passed away, otherwise I would have snatched up the few artifacts she had brought back from Australia, as it happened, I was drawn to the Chinese artifacts she had collected when she lived in Manchuria in the 1920’s. She dabbled in embroidery and it was a her knee that I first developed an interest in hand embroidery. Her inspiration included the textile arts of the Caucasus a part of Russia that was her homeland.
My love of the exotic and ancient cultures has been a driving influence in my handwork, both with quilting but especially with embroidery. In my youth, Medieval art also was an influence and I explored trying to reproduce Medieval tapestries in hand embroidery though they were so large and intricate that I never actually completed one. I also explored Assisi Embroidery and made one complex piece after trying out some simple designs.
In my younger years I used to make cross stitched designs reminiscent of Oriental carpets but rather than choosing a specific pattern from a book, I tended to simply start stitching with a geometric shape in the center and working my way out from that. Often, designs evolved based on the amount of embroidery thread or yarn I had at my disposal (I was a poor teenager working with whatever my babysitting money would buy). Last year, inspired by a woolen cross stitch pillow based on a Caucasus pattern stitched by my grandmother, I explored Algerian Eye stitch to make a similarly patterned medallion.
Sashiko has been one of my passions for years now but recently, I discovered Kantha stitching. At its simplest, it is a form of coarse running stitch used in India to recycle worn Sari material into a new textile from which coverlets and pillows can be made (similar to Boro Stitching in Japan). At the pinnacle of Katha embroidery, intricate designs are stitched in a measured fashion often creating secondary textures like a brocade. Subjects can range from images of elephants and peacocks to Paisley designs.
Speaking of Paisley, some people view Paisley designs as Victorian and indeed they rose to great heights of popularity in that era but the other name they are known by – Persian Pickle – indicates their origins in Middle Eastern art. There is some debate as to what the motif represents, some sources say it is a fig others say it is a blending of a floral spray and a cypress tree. Whatever – it is undeniably botanical in origin. Appliqued Paisley designs are a prefect subject to embellish with intricate embroidery stitching.
About a year and a half ago, I introduced my Journal Quilt class groups to Inlaid Felt Applique, a form of textile art used to make Shyrdak rugs from Kyrgyzstan. The felt pieces in these rugs are joined by hand with a heavy Herringbone embroidery stitch but I used machine embroidery to bridge the pieces of felt and concentrated on embellishing the finished applique with intricate hand embroidery; for a subject, I designed a very simple Southwest style angel motif.
In the days when I had more time to indulge in Hand Quilting, I found myself drawn to the intricate glyphs and carvings of the Aztecs and Maya. These simply begged to be converted into hand quilting motifs.
And finally, no discussion of hand stitched primitive textile art would not be complete without mentioning Molas from Central America. Made by the Kuna in the San Blas Islands, these colorful reverse applique featuring folk art motifs are often embellished with additional hand embroidery.
There is a very wide world out there full of inspiration for those who have the curiosity and interest to follow the trail to wherever it may lead.