Gallery Talk: Resplendent

At last, we've reached the final post about the making of my art quilts recently shown at Squam Art Workshops. 

While the previous five quilts focused largely on their story telling element, this quilt's story is in its making. Enjoy a closer look at Resplendent's inception, techniques and artistry. For the complete view of "My Enchanted Wonderland" installation, please click here.

Resplendent, 2018

Title: Resplendent, 44.5" x 46.5"

Materials: Naturally dyed organic cotton sateens, commercial cottons, metallic and cotton threads; two layers wool batting

Techniques: English Paper Piecing, hand and machine piecing, fused applique, hand quilting

Date: June 2017 - May 2018

re-splend-ent, adjective

attractive and impressive through being richly colorful or sumptuous

Looking back over the months that this quilt was being made, I can honestly say that resplendent is the best word to adequately convey how I felt through the entire process, including how I felt when I saw it finished for the first time. From the initial design idea, to fabric choices, exploring paper shape combinations, cutting paper for the center medallion, and hand piecing and quilting - at every stage, I felt a sort of inner radiance mixed with thrill and eagerness to keep going. 

1" hexis cut from paper and wrapped with fabric. I'm a fan of glue basting.

In the beginning, this quilt was intended as an attempt to satisfy my curiosity about medallion quilts (their history, variety of quilt components and assembly methods). At the same time, I had been anxious to start an English Paper Piecing (EPP) project using my naturally dyed fabrics. Just at the early stages of designing this quilt, Elizabeth Duvivier invited me to teach at the June '18 session of Squam Art Workshops. We had discussed paper cutting being a large part of the class, and then with a little more play time and sample making, I bridged paper cutting to fabric by way of fused applique - more on that a little later in this post - but it's important to note this time of play was a key moment in the planning of the workshop, as well as the evolution of this quilt. Lesson: make more time to play. 

First things first, I began the process of making Resplendent by cutting piles and piles of 1" paper hexagons. I also pulled a stack of my naturally dyed silks and cottons in colors that I see around me every day during summer months. I laid them out to create a transition from light to dark and noticed darker greens were needed, but because they aren't in my standard dye palette, I turned to Nancy Rink's New Aged Muslins by Marcus Fabrics. Feeling the need for a little bit of visual texture, I brought in just a few batiks, and a stripe by Moda and stars by Andover. 

EPP hexis being sewn into units before being sewn together to create the center panel of the quilt. 

Making the most of every piece of fabric, especially my hand dyed indigo.

A few of the jewel shape paper pieces used in the outer border being wrapped and glue basted. 

One unit of many forming the outermost border. The center diamonds are all lovely, soft shades of peaches and pinks from my dye pots.

A tray made transporting the English Paper Piecing units much easier!

I chuckle when I recall how I used to think sewing by hand must take ages! Having done a bit of hand sewing before embarking on this quilt, I knew that with an efficient set up (tools, posture, support, etc.), hand work actually moves right along. Stitching one color and shape to the next is satisfying, relaxing and enjoyable. I'll even admit to finding it slightly addicting. Sewing EPP is like solving a puzzle - as soon as you put two pieces together you can't wait to see the next piece put in place, and the next! 

Speaking of puzzle pieces, once the center panel and outer borders pieces were stitched together, the four outermost corners were in need of a solution. They presented a fun design challenge, for example, I knew I wanted the colors to flow around each corner, keep the eye moving and maintain a coherent design, but I also had to keep in mind that a paper cut design would be applied over this space, so how not to compete with that design? Below are photos of my solution, and with that portion completed, I moved on to the paper cut motifs. 

A corner in need of a solution. 

One half of the corner unit.

One half of the corner unit meeting up with the border.

Two corner units sewn together, inner border added.

In the quilt world, there exist a few applique methods. I tend to do a lot of needle turn applique, of which you can see an example here, here and here, but when it comes to my paper cut designs I find fused applique to be the most appropriate method. Generally, if it can be drawn and cut, it can be fused. It's a fairly simple process, and any one can use this technique with beautiful results. I enjoy sharing the technique with fellow creatives, not just quilters, and you can see the work of talented Squam students in my Instagram feed here.

On the left is a paper cut that didn't quite hit the mark for Resplendent's center medallion. I must have cut four or five different designs, fine tuning each time, getting closer to what I felt was just right. 

The final paper cut design ready for transfer to fusible web, which had already been adhered to fabric. When cutting, I first get my head in the right place: patience, steadiness and staying in the flow. 

The paper cut design is cut and turned over to the right side. 

Fusing the center medallion onto the quilt top. Tiny, sharp scissors trim any stray threads before fusing. 

Once the quilt top is completely assembled, at last, all of the paper pieces can be removed! Aa a mountain of paper pieces grows, one can see the wisdom in reusing papers.

The assembled quilt top, paper pieces removed, and the entire top pressed. The next steps include layering the batting and backing, basting, machine quilting the paper cut motifs, hand quilting the rest, and then binding. 

The day to begin Resplendent's hand quilting was memorable. It was 7:00AM on Saturday May 19th, 2018, and I was in my Nest with fresh hot coffee to my left and my small wooden tool bowl on my right, and the TV was airing Prince Harry and Meghan Markle's wedding. There was one specific moment after the ceremony when a reporter commented that this wedding was "resplendent". I could hardly believe my ears. Of all the adjectives to describe the wedding, he chose the word I had named the very quilt I was stitching. Without slowing, my needle simply continued to weave glinting gold metallic thread through all the layers, holding them together for a lifetime.   

Big stitch hand quilting, detail. Metallic thread and Aurifil cotton thread.

A view of the back of the quilt. Topography comes to mind.

One last look, Resplendent surrounded by Specimen (L) and New York Beauty (R)

How's that for a fairytale ending? Thank you all for the time you have taken to read my posts about this special body of work. I value your interest and your feedback. Many of you have been so kind to share your own reactions and thoughts with me, and I've sincerely enjoyed those conversations. 

A heartfelt thank you goes out once again to Elizabeth Duvivier @elizabethduvivier and Meg Fussell @squamlove for the opportunity to produce and show this body of work, as well as their support. This has been an epic stitched journey and I've enjoyed every single moment. I remain open to traveling with this show, and would appreciate any potential locations/events you may know of.  

Please continue to share your questions and comments below or by email: tierneybarden@gmail.com. I read them all. You can also follow my natural dye works and daily life on Instagram @tierneybarden.

Gallery Talk: Dark Night

Welcome to the third of four posts that look deeper into the making of my art quilts recently shown at Squam Art Workshops. 

Dark Night has many layers, both physical and metaphorical, so enjoy this rare peek behind the curtain. For the complete view of "My Enchanted Wonderland" installation, please click here.

Dark Night, 2018

Title: Dark Night, 33.5" x 39"

Materials: Shot silk, my father's silk ties, men's cotton dress shirts, silk shantung, Japanese wovens, shot cottons, commercial cottons; wool batting

Techniques: Needle-turn applique, machine piecing, machine quilting

Date: January-February, April 2018

American Folk Art quilt, artist unknown, 1825-1845. Wool, silk, cotton, applique, beading and embroidery. Photo by Gavin Ashworth for the American Folk Art Museum.

Smitten with American Folk Art quilts, like the example shown at left, I've long wanted to make my own quilt that tells a story with hand applique figures sprinkled all over the surface. Antique folk art quilts commonly illustrated daily life on the farm, politics of the day or biblical stories; however, my quilt tells a tale that transcends time and place. The title of this quilt is a nod to a specific step of the Hero's Journey as defined by Joseph Campbell: the dark night of the soul. Making this quilt provided plenty of time to really consider what it is to be on a quest through our own dark night - the battles we fight, the choices we make along the way, whether we hold fast to our values and beliefs or perhaps discover things about ourselves that change how we see the world and ourselves. My quilt's overall design became a treasure hunt, a search for meaning, sign posts and messages that help light the way through the darkness. 

As my stitched quest grew richer and more meaningful, these words eventually made their way to the surface:

Dark Night

In the depths of that dark night

Every minute of every hour

Choose love.

Shine your light. Breathe.

Trust in yourself. Believe.

One day, you'll look back

Stronger. Wiser. Softer.  

        -T.B.

As I mentioned, this quilt has many layers, one of which is the actual making of it. Imagine that it's February in upstate NY. Cold winds whip around the house, the days are more dark than light and temperatures hover in the teens. I'm safe in my Nest, burrowed beneath layers of downy softness, warmth and comfort, busily stitching by hand. On my right is an aged wooden bowl that holds my favorite tools and threads. Hot coffee on my night stand at 6:00AM, and by 7:00PM a fresh cup of fennel tea and a small piece of chocolate. I tell myself I've earned it, stitching by hand for 12 hours. The next day, wake up and repeat, and still with a happy heart. I realize this is the work I was meant to do. These are the stories I was meant to tell. 

The background of this quilt is the traditional Flowering Snowball block. I chose that block because, like life, everything is connected. I also like how the geometry of the pattern blends both feminine and masculine energies. From around the studio I thoughtfully pulled a wide variety of fabrics, including men's dress shirts, Japanese wovens and some commercial cottons. The fabrics had to relate to the story being told, for example, a bit of black lace suggests grieving, loss, pain, sorrow, feminine energy, etc.. Where there's shadow there is light, so fabrics that brought in light were equally important, hence the gorgeous rose-gold shot silk.  Including some of my dad's ties made this quilt very personal. My dad passed away of a heart attack at age 59. I was 29. This sudden and tragic loss was my first quest into my own dark night.

As rough as they are, I made my Flowering Snowball templates by hand and they worked like a charm. The test block shown here later became part of a pillow I made for Terri Dautcher who was indispensable helping me hang this show.

The background all laid out before machine piecing it together. At this stage, I had only a basic idea of what the rose-gold silk applique might look. 

Scattered on the floor of My Enchanted Wonderland installation were some of the actual cut paper rose stems used in the making of Dark Night. 

For this quilt, loose paper cut shapes helped determine the composition before the final shapes were cut from silk.

Hand stitching silk shantung is an indulgence I'd afford again and again. Stitching shantung into a garment is one thing, needle turn applique is another. Once I understood this fabric's tendency to fray, the nature of the weave upon turning under, and the presence of slubs, the process actually became enjoyable and I found myself drawing somewhat intricate shapes like the key, the ladder and the swan. The entire composition actually evolved over weeks of stitching, adding more paper shapes, then more stitching and more paper shapes. As I stitched, I'd connect a few more dots about dark versus light, or fighting the good fight, and another symbol would appear in my mind's eye. Gradually, all of the quilt's symbols revealed themselves. Looking back on the process, it was a good lesson in staying open and in the flow.  

One of the reasons I'm partial to antique folk art quilts is their inherent wonkiness. Confronting my Type-A personality, I intentionally made myself loosen up when drawing and cutting each and every paper shape. I stopped myself from "fixing" this curve or that petal. I have to say that those wonky shapes were a joy to applique. It's funny to me that when I teach, I readily encourage students to embrace imperfection, to celebrate it, and there I was, reminding myself to do as I say. For me, those mis-shapen, odd-looking shapes breathe life into the piece. They add character and personality. The way I see it, evidence of the human hand is a gift, a little piece of the maker left behind for the viewer to discover, to take delight in and even to bond with the maker - to say, "Yes, I'm human, too." I'll have more of that, please. 

I hand basted this quilt before taking it to the machine for free motion quilting. 

First day of machine quilting. Two full days, total.

This handsome piece of Jo Morton fabric was perfect for the quilt backing and binding. One layer of wool batting was enough to create a sculptural quality on the back.

Dark Night is suspended over my Nest in the cozy Deephaven Library, 2018.

Artists are often asked, "How do you know when a piece is finished?" For me, there simply comes a moment when I notice a silence in me, a stillness that says, "No more is needed. I've said all I need to say."  

As always, please share your questions and comments below or by email: tierneybarden@gmail.com. I'm grateful, and I read them all. You can also follow my natural dye works and daily life on Instagram @tierneybarden.

Gallery Talk: New York Beauty

Welcome to the second installment of posts that look deeper into the making of my art quilts recently shown at Squam Art Workshops. 

This quilt is titled New York Beauty and is a dynamic example of what can happen when curiosity and spontaneity collide. For the complete view of "My Enchanted Wonderland" installation, please click here.

Title: New York Beauty, 34" x 32.5"

Materials: Batiks and quilting cottons; wool and poly blend batting

Techniques: Hand and machine piecing, needle-turn applique, ink-jet printing, machine quilting

Date: February-April 2018

All our love, Grandma and Parpar

One wintry afternoon, diligently stitching along on some of the other quilts in this collection, I went into the studio in search of something and found myself rifling through a drawer only to come across a stack of envelopes with my grandfather's hand writing. Perhaps I should have left those letters for another day and gotten back to my stitching, but instead I chose to stand in silence and open each envelope, unfold each letter and read all of my grandfather's words. The memories! My heart was both happy and aching at the same time. Missing them all. The bottom of every letter was signed, "All our love, Grandma and Parpar". I knew then and there that a quilt had to be made to celebrate these letters.

I do a lot of looking at antique quilts and the ones that always hold my attention are wonky with a clear presence of the human hand. 

Early stages of building NYB, nestled in the Nest. 

New York Beauty (NYB) is a classic quilt block that dates back to the early 1900's, and was a way of using up very small fabric scraps that would otherwise be considered unusable. Because of its construction, the block earned quilters ample bragging rights. When I began quilting, I remember seeing NYB quilts and thinking, "If I could make that some day...." In February, I sat down and taught myself how this block works. All of the triangles in my quilt are hand pieced, and thanks to my friend Marion's guidance, I was able to advance from straight rows to curves. Steadily stitching peaches and pinks to lovely grays and deep blues became a soothing way to sail through several days of winter in upstate NY. At this same time, I was looking at an older drawing I had made of a plant out in the yard. Its spiky nature seemed to mimic the traditional NYB block, so I used it for the needle turn applique design in the center panel. I may never learn the plant's name, but we've both been growing alongside each other in our natural habitat. 

Like so many of us, much of the joy I experience with each art quilt is selecting fabrics and colors. Quite often, the core palette presents itself to me, I see it in my mind's eye, and then my job is to make sure all of the supporting players do exactly that. If I had to choose, I'd say that's my favorite way to build a quilt because I can get to the rest of the process much sooner than if I'm deciding on the entire palette (so many choices!). I often marvel at other quilters' color choices, and I know I'm not alone with my affinity for antique quilt palettes! For me, the study of color is a lifelong pursuit, and this I truly believe: color is a language unique to each of us and spoken by all of us.

Leave me your questions and comments. I'm grateful, and I read them all. You can also find me on Instagram @tierneybarden and email: tierneybarden@gmail.com. If you haven't seen my Pinterest boards, there's bound to be something there that will suck a few hours out of your day.... :)