Category Archives: Fiber Musings

Progress in the Mountains

Progress in the Mountains, Susan L. Feller 2015

Progress in the Mountains, Susan L. Feller 2015

After three years of muddling over this topic I created “Progress in the Mountains“, a seven foot by 27 inch hand hooked runner.

Envision the impact on geography, environment, culture and community the human drive for progress has had on the natural resources of West Virginia (a micro example of the globe).

1. Major interstate highways create jobs for the construction industry, allow quicker access to towns and destinations for tourism and commerce but disturb migration paths, feeding and lodging habitat for fauna and flora.

2. Corporate farming in the form of one breed of cattle, poultry buildings for thousands, and processing plants for each creates excess of waste which needs to be distributed by vehicles to wider destinations or processed into a stable by-product.

3. Lumbering of the forests, many of which were contract planted for the pulp or board feet affects the terrain.  The undergrowth is necessary to keep erosion from happening, contributing to pollutants in the rivers.  Slow traffic from lumber trucks is alleviated with the new highway system.

4. Coal mining strips the tops of mountains to find the veins, moving the waste often into headwaters of small streams which will run into the major river systems.  But the coal is used to create electricity for the metropolitan population’s requirements to communicate, work, entertain.  The power lines to distribute the energy create wide cuts in direct paths economical for the corporations taking years of negotiating with landowners, environmentalists, historians and politicians but eventually “for the good of the majority” being implemented.

5. Wind turbines line the highest ridge lines feeding the energy generated into those power lines again going out of our state to the metropolitan region.  Although a regenerable resource (wind) the effect on birds’ migratory paths is being studied.

I find it interesting to use a traditional hands-on process of pulling one loop at a time, manipulating the fabric into shapes and directions (rug hooking) to depict these issues of the 21st Century.  For months this design was drawn horizontally spreading the seven feet with layers of hills, roads and power lines intersecting the organic shapes.  It did not seem to be the right format. Finally in my daily journal on June 27 I tried a vertical format and could see more layers allowing a longer trail to be able to tell more stories.  The piece evolved easily from there.

Study for Progress in the Mountains

Study for Progress in the Mountains

Working this runner was like reading a great book, each chapter and character held my interest. They built on previous sections with shapes, colors and values evolving along the path, progressing to the top and end.  Imagine walking along, following the flow of road and hills then turning around and coming back down the mountain in your hallway.

Following are subjects taken along the Robert C. Byrd Highway system in Hardy County, WV and the rug in stages of completion.

 

UPDATE: I wrote an article about the making of this rug for Rug Hooking Magazine Nov/Dec 2015.
After looking at the completed runner hanging in my studio for months I changed the perspective of one part of the highway and was satisfied enough to enter into the 2017 WV Bi-Annual Juried Exhibition. It received a purchase award and now resides in the archives of the State Museum, Culture Center, Charleston, WV.

Contemporary Fiber work at Schwenkfelder

My responsibility as co-curator of the ‘Garden to Table’ exhibit at the Schwenkfelder Library and Heritage Center was to collect contemporary work incorporating rughooking.  The pieces contributed by Carolyn Boutilier, Kris McDermet, Mary Jane Peabody and Darlene York  Trout along with several of mine portray a variety of techniques within the traditional rughooking medium.

hooked and sewn pumpkin base, wool stem, stuffed by Carolyn Boutilier

hooked and sewn pumpkin base, wool stem, stuffed by Carolyn Boutilier

 

 

Carolyn Boutilier from Harrisonburg, VA hooked and stuffed a 3-D pumpkin which complimented the wax fruit displays of the 1800’s.  Exhibited under it’s own plexi glass box the humble object receives the respect it deserves.  Candace Perry chuckled with glee when she saw the pumpkin.

 

 

 

 

Luscious Vermont  Kris McDermet 2014  Dummerston, Vermont

Luscious Vermont 
Kris McDermet 2014 
Dummerston, Vermont

 

 

Kris McDermet’s braiding, hooking and felting exemplifies contemporary fiber art using traditional crafts.  Living in Vermont the rug represents her generational family homes in a palette connoting the Green Mountain state. Kris is co-author of Combining Rug Hooking and Braiding published by Schiffer Publishing.

 

Fruit and Flowers, Mary Jane Peabody (pattern by Jacquelyn Hansen)

Fruit and Flowers, Mary Jane Peabody (pattern by Jacquelyn Hansen)

 

Mary Jane Peabody from New Hampshire was inspired to learn an old technique – sculpting or the Waldoboro style. She began this piece in a workshop conducted by designer,  author and expert Jacquelyn Hansen from Maine. The pattern Fruit and Flowers is by Hansen.

 

 

 

detail sculpting technique by Mary Jane Peabody

detail sculpting technique by Mary Jane Peabody

 

The 3-D effect is achieved by progressively pulling the loops higher as the shape is hooked from outline to center.  Then the thin strips are each clipped at the loop and gradually TRIMMED to create the shape. Popularized in Waldoboro, Maine in the early 1900’s on rugs, this piece is beautiful finished in a burled frame.

 

 

 

 

 

Paisley Bouquet by Darlene York Trout

Paisley Bouquet by Darlene York Trout

 

Darlene York Trout from Indiana is a designer willing to use any of the fiber skills she has accumulated to make a piece unique. This work was created specifically as a gift for her friend Patsy Jones which made it even more enjoyable to work on.  I enjoyed a week at Cedar Lakes Rug Camp working with Darlene on the Paisley Bouquet and knew it would reflect the fruit compotes in the Schwenkfelder collection.

Embroidery skills are evident in the detailed cross hatch of the central flower and the quilted, appliqué corners.  She also used beads and hooked in sari silk ribbon to highlight some accents and hand dyed all the wool.

 

 

Haying Stages, Susan L. Feller

Haying Stages, Susan L. Feller

In Haying Stages I used several techniques to create the hay rolls, mowed fields, and scrabble of grasses. The rolls are made using a pin loom and continuous weaving. An addictive satisfying technique popularized in the 1940’s and seeing a resurgence in the crafts wave of the 21st C. The ends are closed with a plaited strip made from the wool I hook with.

 

detail plaiting, weaving by Susan L. Feller

detail plaiting, weaving by Susan L. Feller

I used a ragged approach to the ends, cutting them off higher in many areas to depict the grass. In the area where the rolls are there is hand dyed wool anchored by the same yarn used int the roll.

This piece was juried by Jane Dunnewold into an exhibit at Morehead State University, Kentucky titled 7Stitch.

 

Garden to Table Treasures

The third exhibit co-curated by myself and Candace Perry, Director of Collections at the Schwenkfelder Library and Heritage Center titled: “Garden to Table” will be displayed through March 1, 2015.  As I alluded to in the post Setting up an exhibit, the artifacts from the collection are a special glimpse into decorative skills the Schwenkfelders and their neighbors perfected.

There will be another post with the hooked and braided work intermingled with these pieces but I thought to show you creativity in making flowers and fruit from wax, wool, yarns, feathers, milkweed seeds, painted china, and paintings.

Elements made by hand using wax and sometimes molds by women as glass domed centerpiece in homeMaker unknown. Gift of John Whitenight and Fred LaValley.

Maker unknown, circa 1880’s Gift of John Whitenight and Fred LaValley.

Wax Fruit Arrangements

A popular craft for many women in Montgomery County in late 19th century was the making of wax fruit, and arranging the pieces under glass domes for parlor decorations. The Schwenkfelder Heritage Center has several of these arrangements including three that are from Schwenkfelder families, and one from the greater Philadelphia area.

The arrangements often contained vegetables, and sometimes other types of desserts and delicacies.

 

 

 

detail Floral Wreath in Shadow Box, 1880-1890, Schwenkfelder

detail Floral Wreath in Shadow Box, 1880-1890, Schwenkfelder

Wool Floral Wreath

The making of wool flowers and assembling them in shadow boxes or under glass domes was yet another form of needlework that captured the imagination of local women in the late 19th century. Sometimes – and probably inaccurately – called plushwork, these flowers were constructed by wrapping wire shapes with wool and then matting or felting them. Instructions to make the flowers were available in Godey’s Ladies’ Book, the popular periodical of the mid-19th century.

 

 

 

detail Feather Arrangement

detail Feather Arrangement

Domed Feather Arrangement
Making pictures, personal accessories, and arrangements such as this flower bouquet out of feathers became a popular craft for women in the mid-19th century. Exotic birds’ plumage would be used if available, but for the average American woman such as Lucina Schultz, chicken feathers would do quite well, and were sometimes painted and otherwise manipulated to achieve special effects.

Feather Arrangement credits: ca. 1870-1890
Made by Lucina Schultz
Douglass Township, Berks County
Gift of the Estate of Lucina Schultz
1938.11.35

detail Milkweed Wreath in Shadow Box  Maker Unknown ca. 1890-1905 Probably Berks or Montgomery County

detail Milkweed Wreath in Shadow Box
Maker Unknown
ca. 1890-1905
Probably Berks or Montgomery County

Milkweed Wreath

Nature’s seeds were used by the PA Germans creating wreaths for the Holidays and small ornaments.  This image is a detail of a wreath composed entirely using milkweed seeds shaped as small flowers. The tedious work involved to build the depth is hard to imagine but the work fools viewers into thinking they are actual dried flowers. Placing it behind glass in an ornate gold frame raises the craft to a decorative art form.

Hand Painted China collection

Hand Painted China collection

China Decorating

Amateur china painting became a popular Victorian ladies’ craft in the 1870s. Porcelain blanks made by Limoges in France and other factories in Europe were imported in huge numbers to supply the popular hobby. Some women even painted china to earn extra income.

Local china decorator Nora Krauss Schultz began creating her exquisite designs in the early 20th century and continued well into the 1950s, not only with her own work, but by passing on her knowledge to many local women in the communities of the Upper Perkiomen Valley. Nora Schultz’s talent for beautiful decoration can be seen in the group of plates decorated with berries on the left side of this case.

 

 

Still Life Painting by local

Still Life Painting by local

 Still Life Painting

Sometimes china decorators applied their skills to the canvas, also; the paintings displayed above this case were painted by local women who also may have painted china.

 

 

Below are full views of the works detailed.

Reflecting on a Portrait

Seems one is not enough these days. This post is how one portrait lead to another.

Inspired to simplify the design I hooked with such detail, I took one of the sketches and traced the outline, neck, hairline and glasses. Then out came the colored pencils and I played around with value and color.  That exercise was frustrating — wrong values, colors not quite right and I did not like “coloring”. But it did help me realize which values would communicate a face in side profile – (darker cheek behind full face, medium face and light hair); and that using color may not be how I wanted to create this work.

I had just picked up an armload of discontinued fabric samples from Dillon’s Furniture in Romney with intent to incorporate them into my work like the McDonald sisters of Gilmer County, WV who used scraps of fabric in their trapunto, embroidered, faux hooked tapestries circa 1964. (A post for the future).  It felt like I had hit GOLD when I looked at that pile!  Selecting a dark solid, medium texture and white lined fabric, I cut out patterns and began layering these on a MOD FLOWER pattern which said 1970’s to me. To hide the stitches I had to use threads matching the fabric.  These decisions lead me to dwell on my memory of embroidery skills.

It just happened the first layer was as dark as the lines of the pattern fabric. Noticing this, I positioned the next layers to expose the equivalent of the lines.  When in a creative session I try to remember to come out of the eagerness once in awhile and look at possibilities.  Being aware of happenstance and flexible enough to evolve is where artistic growth happens along with fun.

As you can see, the glasses were too important (and too dark), and gradually I trimmed them to just the actual frame which is enough for recognition. This piece will be finished in a thin black metal frame. Size is 14 x 11.

Although both faces are the exact same size, the positioning on background; detail in face; and scale of motifs in background mislead the viewer to think the appliquéd one is smaller.

Nature Lessons in Color Planning

When I wanted to illustrate complementary partners in the book ‘Design Basics for Rug Hookers’, Stackpole Books 2011; I chose PURPLE asters and GOLDENrod along the highway near Albany, NY and ORANGE sassafras and a crystal BLUE sky here in WV.

Late summer brings on the subtle changes we glorify as Fall.  These images are good studies in how amount of color and placement affect the motif . They represent RED with its complement GREEN.

 

This is is a ‘Daily Square’ from late October 2013 depicting a blackberry branch. These photos taken today will inspire several squares.

Look around your environment and select a new color plan.

Blackberry Branch, Susan L. Feller painted linen, hooked, embroidered, quilted

Blackberry Branch, Susan L. Feller painted linen, hooked, embroidered, quilted

Graphic Realism

I indicated in REALISM INTERPRETED there was a second piece using the same subject. Here is the process and results.  The first work, “Neighbor’s Barn”, used the subject and evokes the natural nuances of 100 year old chestnut boards.  This piece, “Neighboring Barn”, I challenged myself to simplify using straight lines; evoke more drama with higher contrast; and in the end incorporate hardware to emphasize the design origin.

Originally I drew out a runner (18 x54), as you will see the concept morphed into a square.  Why?  As the length increased I began to ask myself what was I trying to say?  When “I do not know” came back to me I re-evaluated.  I took out the light line in lower right, inserted a dark copper wire and ended the composition at the base of the door.  This way with the hardware the viewer probably sees a weathered structure and my piece has a story to tell.

Realism Interpreted

I have described the technique of rughooking to artists as “painting with fibers”. We use a hook pushing it down through a loose weave backing (usually linen) to make a hole through which we pull up the strip of fabric or yarn held underneath creating a loop.  Then we go back down through a hole close by and pull on the strip again.  Depending on the VALUE, COLOR, TEXTURE AND THICKNESS OF STRIPS  the design evolves similarly to a painter’s brush strokes.

Most of my work has been with strips a bit smaller than 1/4 inch wide.  Since 2014 is the YEAR OF EXPERIMENT AND CHALLENGE, I jumped at an opportunity to spend a weekend in a class led by Roslyn Logsdon in Laurel, MD and use much thinner strips allowing for more changes within the space.  The theme was architecture and I took photos of the barn  across from our lane which I have depicted in several daily squares already.  Time for a larger piece…. 9″ x 12″!  Wow!

Roslyn encourages artists to study a photo, sketch the shapes onto the backing then put the visual away.  Select your fibers (in my case three bundles of brown, green, grays sorted into light, medium and dark) and begin to CREATE the subject you envision.  An artistic interpretation will be the results.  This advice is difficult to follow when the photo is someone close to you, or you THINK too much.  Become the child again and create.

I took her advice to heart only returning to the photo the second day to see where I could add depth by showing light behind the door.  See what you think.   I was so inspired that a second piece was worked up over the last ten days.  But that is for another post.

Jim’s newest installation

There are two artists in this home Jim and Susan.  We bounce inspirations off of each other, asking for critiques or just to think out loud.  The conversation recently went something like :

J  I have all of that colored nylon fabric sitting in the bag, when are you going to cut it into clothing shapes for me?

S  I have been waiting for you to tell me what you want?  and why?

J  Well I am not sure why or where I want to hang the “clothes”.  Maybe on the front porch.

S (too quickly) Oh NO.  (then) Well ok, but why?  That is pretty stereotypical. Is that the statement you are looking for?

J  No I want people to say WHY? and I want to create another installation which you and I will enjoy looking at and smile.   How about those locust trees way down in the grove?  We can see it from the kitchen windows and people will wonder who hangs laundry 100 yards from the house.

S  GREAT!  I will get some of my clothes as patterns and cut a pile for you.

 

Inspirations Everywhere

Fabric Studies

Fabric Studies in month of February 2014, Susan L. Feller

These four blocks were inspired by fabric.  The embroidered and embellished moody blue green I dyed and spoke of irises.  Next the colors from the piece used as overall background set the palette. I will line the back of this square when finished with the wool as an example.  The center panel of the striped piece is a wide, loose trim which I hooked an aqua and pink line through to anchor the fabric to backing.  Then I hooked through the edges and mimicked the patterning by hooking and braiding.  The last one was designed based on the striped fabric in center square.  I used high contrast to reproduce the stripes.

On to May journaling, the trees are bursting into bud and each migrating bird upon arrival is adding their music to the orchestra.  Sounds, sights and memories emerging as subjects.

What is new in your neighborhood? How can you record, document, or reinterpret these experiences?  Tap into your creative space and show others your thoughts.

February Studies

image The daily square project is moving along slowly visually but the knowledge I have explored is vast.  There are two more squares to be completed for February, one I thought would be a value study in fine cuts since it is made up of “petals” around a center. But as time has progressed I decided to build dimensional shapes using a modified shirred technique.  Fine cut later this year, maybe. Winter lead me to work in the kitchen near to constant free heat from our wood cook stove.  I empathize with people who do not have a dedicated studio space and work within the family living area.  I had to consolidate materials, did not have all the tools available to paint, sew, use wire or sort through the unusual materials for inspiration, and ended up hooking more squares than if in the studio.  Back there this month though.

Red, Green, Purple, Orange

Red, Green, Purple, Orange

Workshops coming up were the topics for several squares.  The session at Green Mountain Hooked Rugs School in June will address color planning with a Mood — happy, sad, in love, sunny.  Red, Yellow, Blue, Orange, Green and Purple are interpreted with lines or motifs and in monochromatic palettes.

Complements, color and value

Complements, color and value

A presentation to With Hands & Hearts Antietam Chapter of ATHA covered relations of colors with values.  Squares address colors on white, black and textured gray backgrounds.

Fabric Studies

Fabric Studies

Just as in home decorating where the drapery fabric or a stunning piece of artwork cues the coloring for a room, I responded to a piece of wool or trim in four squares. March journal entries reflect the studying process.  Nightly a book from the library was reread, notes taken and a design exploring the technique or art style was drawn.