It’s about the process. I’ve said it before and I say it to myself every day. But it’s more than that. It’s about connection, meditation, intuition and evolution. The work I do is no longer precious, no longer final, no longer static. It lives on, breathes inconsistency and opens new insights. This process keeps me thinking. This process brings pieces together. Here’s a brief summary about the process for a new piece, In the Weeds.
I started with this piecing composition. My thoughts were about sentinels — beings tuned into signals that may not be heard.
I did a lot of stitching on this piece, both by machine and by hand. There was an inkling of dissatisfaction during that time. But my motto tends to be “more is more” right? You can see the warping that is happening to the piece as I add more texture. Not a good sign most of the time.
I let it hang on the studio wall for about 4 weeks. Then I put it into the divide and conquer bin. This piece would not see the light of day until I could resolve its main problems — frivolity without reality, composition inadequacies, warpage meant for the sea not the wall.
Then one day I had an itch to destroy, erase, and engage.
I ended up with 96 4” x 4” squares. And it felt really good.
Reassembly took a few days. This was one of the solutions I had. Still not there. I attach the blocks to a substrate. This time I used drapery blackout fabric. It stitches very well and maintains its shape.
Of course, I am not shy about adding details. And, I added a few pieces from other quilts that were in the divide and conquer bin.
It was about this time that I knew the title of the piece, In the Weeds. According to the Cambridge dictionary: Concerned with so many problems or so much work that you are finding it difficult to deal with something; or concerned with small details, often when this prevents you from understanding what is important.
I’ve been in the weeds about a few things lately. Understanding what is happening in our governmental bodies, concern about the environment, moving into the third period of life. The catharsis of stitching helps quell the storm.
In the Weeds, final composition. Paula Kovarik, 34” x 39.5” The sentinels are still there but they are more active in their environment.
In the Weeds, Paula Kovarik, back panel.