Front Runner goes to batt and the
Braves baseball season is off to a wonderful start as they are two games into handing last years world series champions Phillies their asses.
I start my mornings with some webwork, a cup of coffee and lately, two consecutive hours of some of the best TV drama ever written going on in the background while I putter, stop, and become engrossed.
Because I worked the second and third shift for many years, I didn't get to see
West Wing when it was on in prime time, so many of the shows are new to me.
"Two Cathedrals" was just on and this one, like many, moved me to tears. I don't care what side of the political aisle you sit on, I just can't help but be moved by people who have made public service their whole lives and I'm not just talking about the elected officials. I also keep in mind what an amazing artistic collaboration this TV production was and wonder about how it came to pass.
Nothing in government would work without the people who move the mountains with teaspoons and I wish that I had made a career in that arena but then I remind myself that the contributions I have made matter a great deal to many people who care about me and I hike up my suspenders and get busy with my own teaspoon.
There's been a lot whining here about the limitations and failures I've experienced working with fiber and sewing.
Lately I've taken some good advice and started paying attention to what elements I like in a variety of other artists work and I keep coming back to the dimensionality of the machine stitched line in layers of fabric like Terry Grant's work.
(Front Runner in progress , 48"x72")
This time I'm going to compound the impact of the machine stitching on this piece one pass of stitching at a time and hope I recognize when basta! arrives.
The stitching itself is lost on these failing eyes from just a few paces across the room but the shadows that are cast with natural light get my attention like claw marks in bark.
For my own satisfaction, I'm thinking I have to find a balance between the broad strokes/energy of color and shape and the finer details of stitching and texture. I've come to accept that the problems of working large is finding ways to reconcile how a piece looks from across a room and what else goes on when you step in for a closer look.
addendum - I just read this from Lanie and find a serendipitous parallel .
