Albemarle-Sound Textures
These samples were created in the course of developing what would become the Folly Bay triptych. They started with a prompt by Gail, my tutor for the Master Practitioner Course, as I tried to forge a vocabulary that would allow me to engage with the textures of the seascape outside my window.
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Water, Sky, Horizon
I tried to figure out how to create the sky portion, with quilting over mono-printed printed cotton; the water by using painted fusible web sandwiched between organza; and needle-punched wool roving with free-motion stitching.
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Shoreline I
How to create the texture of the shoreline and then transition to the water segment was something I tried out in a number of sample. This one has painted cheesecloth, bits of needle lace, painted and heat-distressed Tyvek, beads, and hand embroidery.
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Shoreline II
Same principle as the previous sample, but with the addition of the green needle lace to evoke the ubiquitous sea grass.
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Shoreline III
I used painted and heat-distressed Kunin felt, overlaid with painted cheesecloth, needle lace, and hand embroidery. I tried to work the transition to the water portion with needle-punch wool roving and free-motion stitching, but that was not very successful. Nor was the quilting motif for the water section working out..
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Evening Colors, Horizon
This sample was less about exploring textures and more about seeing how I could make the colors work.
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Evening Colors, Shoreline
Here, too, colors were the main objective, but I also wanted to see how various beads and hand-embroidery stitches might look.