Archive for the ‘documentation’ Category

peeling the onion, in reverse…

Wednesday, May 10th, 2017

Defining Moments 12: Motherhood, background under the needle

I have often heard it said that getting to know someone is like peeling an onion. My new style of working is more like peeling the onion, in reverse. It is a layering process.

Ever since I succumbed to the siren call of the mid-arm my whole style of designing has changed. Now, because I can, I stitch each piece in layers. First I piece the background and then quilt that. No more skies that start and stop at the edge of a building. Now the sky goes all the way across as a sky does. No more fused parts loosening up and dog-earring while stitching an entire piece. Now the machine appliqué parts are fused and then stitched, in their own time. It is so much easier and truly remarkable how much more professional the work looks doing it this way.

stitching text

I am currently wrapping up Defining Moments 19: Motherhood which has been a bear to create. It was a bear because I could not figure out what I wanted to say or how I wanted to say it.  I was reminded by my favorite aunt that motherhood for me was a challenge, and like all people, places or things that have challenged me in this life; they also have challenged me in the series. I was at a total loss for a design. I knew I needed to include Motherhood as a defining moment but oy, how? Finally I just sat down and started writing, free thinking if you will, just writing without editing. And what come out was remarkable.

free-writing, also screen the background

I wrote about how I never considered whether I wanted kids or not, because that is not what women in my generation did. We got married and had kids. It was the norm, it was expected. It’s what you did. Some might question how I could even admit that and yet I am here to tell you that my daughter, now grown, made¬†her own¬†decision not to have children, in her 20’s. When she told me, I thought what great courage and integrity it took to make that decision and do something about it. Perhaps her decision gave me permission to admit publicly I was uncertain if I should reproduce or not.

Another thing that came through the writing was my battle with postpartum depression. I struggled through it for many months and had never really spoken much of it, certainly not at that time. Those two issues alone make for a very strong piece about motherhood.

collage of daughter’s childhood images

Then I decided to then add something that personified the blessing that came to me through motherhood. So I made a collage on silk organza of some of the most wonderful photos of my daughter growing up. This adds the paradox of my motherhood experience; from all that worry and stress came this beautiful baby who grew into a woman of such integrity and conviction. She continues to be one of my greatest teachers, as I peel back the layers.

Happy Mothers Day!

another defining moment…

Monday, April 3rd, 2017

Defining Moments 18: Inner Growth

I just finished and photographed no. 17 and 18 in the series. With a total of 25 to do the light is at the end of tunnel, for which I have mixed emotions. This series like life has had its ups and downs!

I LOVED no. 18 start to finish and now I am staring down no. 19 which is about motherhood. While I have written the text the design remains elusive. So I will take some time to do other creative things and hope inspiration hits me upside the head when I am not thinking about it.

Most folks who have known me for less than 20 years do not know I was a hand-weaver and spinner in another life. It all started in 1974 right after we bought our home. I signed up for an adult ed class in silk screening, but was the only person to do so. Rather than refund my money they offered me another class, so I reluctantly chose weaving.

The teacher was fabulous. She was enthusiastic and supportive and had lots of ideas, both in books and experience. We wove on a piece of cardboard that we had wrapped with string for warp. I used a purchased¬†hand-spun as weft, as¬†I was not spinning my own yarn at that time. I wove an owl which was about 12″ long x 10″ wide. Hubs cut two wood circles which I colored¬†with black circles for the eyes. I was instantly hooked¬†so¬†he made me several frame looms and an inkle loom. Shortly thereafter I bought a four harness floor loom which took up most of my current¬†studio space and set out to weave yards and yards of fabric. Because I hate following recipes or patterns and am math-averse I seldom wove enough of any one cloth¬†to make anything. That is when I really started to patch fabric and¬†create garments from¬†my woven fabrics.

I like to say that I discovered I could buy fabric already woven when I gave up the loom for art quilts 18 years ago. I sold the loom and bought a much smaller Thermofax machine for creating printing screens. The remnants of my handwoven cloth have languished since waiting for divine inspiration. Along came this series and voila! My hand-weaving was definitely a defining moment in my life. I knew from the get-go just how I wanted to present that.

I decided to make leaves of the handwoven remnants, and some garments which I actually cut into! I also used some hand-knit scraps and nuno felting which I had done in a workshop years ago. I fused all the leaves back to back and with the exception of two¬†types. ¬†I whip-stitched the leaf centers and outside edges. The two exceptions were a tumbling blocks woven in 1/4″ ribbon and a twill woven from mylar strips. Both of those were so fragile that I machine stitched an edge of Clover fusible bias.

And I wanted the background fabric to be wide enough so a tree looked balanced and bright enough to pop all the handwoven colors. It was tempting to stop at 44″ wide so as to fit a shipping carton but it grew all the way out to 51″ wide, finished. The bottom, or ground on this piece is a fabulous piece of art cloth from a mentor,¬†Els Van Baarle.¬†¬†I do believe in supporting the arts, and other artists!

fused and stitched tree branches with leaves

In designing the piece I knew the best way to stitch it would be in layers. So I stitched the background first, then I fused on the tree branches and stitched those, both in and outside the lines for depth. Then I pinned on the leaves. My initial intention was to hand-stitch the leaves on, but I started with machine stitching the aforementioned special leaves. At that point I was thinking, oh this is too easy so I machine stitched all the leaves on! I stitched only down the center of each leaf which secured it but allowed for the awesome 3-D effect.

woven mylar vest

The tree seems an appropriate image for this piece. For through 25 years of weaving and knitting I grew so much as a person. I listened to a lot of Oprah while in the studio. I read a lot of self-help books and developed a sense of self worth for the first time. This tree is really represents the tree of MY life and my growth as a creative and as a woman.

So this is my first 3-D quilt! And I am so happy with it. It is joyful, just exactly how I feel in my creative life. And it may just be the signature piece of the series!

the muse is keeping me awake…

Tuesday, February 28th, 2017

handwoven cotton vest

Anyone who makes art knows how exasperating the muse can be. There are times when she has entirely left the brain, the building and the planet and try as we might we cannot ‘rouse her, no matter how disciplined or urgent the need may be. Then there are times when she is simply there, waiting but we don’t have the time. I have learned the hard way to never let this happen. When she is present, she must be noticed, she must be paid attention to and she must be fed. I can play digital mahjong when she is fallow.

And then there are the times when she is so present, she is dancing on the table, singing off key, shouting obscenities, anything to get my attention. Here I am. Pay attention to me dammit! And do it now, this instant, even if it is 3 am in the morning. 

For me that time is now. For the past three nights I have designed many pieces of work, in my mind’s eye while lying in bed between 3 and 6 am.

I am currently finishing the design of #17 of 25 of the current series; while no. 18, 19 and 20 are pacing outside the window. That is what it feels like, as I try to sleep but all I can do is consider construction, how will I execute that idea, should I try to hand stitch all those leaves, would it work if I tried to pillowcase them or would that be an exercise in futility? How big should I make that tree, what about the background? Do I have enough in my stash or should I buy more? What color way do I want to work in? How many leaves should I make? And the most anxiety producing question of all is when I finish the piece can I actually toss out the remaining handwoven remnants?

handwoven cotton-linen bag

This next piece is about my journey through hand-dyeing, hand-spinning and hand-weaving. It began when I was in my late 20’s and concluded at 50. In thirty years I wove all kinds of yardage and made garments, bags and scarves. I sold some, I gave a lot away and I sewed and wore some. Several¬†years ago, after I outgrew most of it¬†I gathered up a big pile¬†and shoved into a drawer in my studio, the famous someday drawer. Someday I will do something with this; until two years ago¬†I realized someday is here and I need to do something with it or get rid of it. So no. 18 is that something! I am excited at the prospect of the design I wish to create and yet still clearly in discussion with muse about how to actually achieve it, to communicate the idea without destroying the woven and knit cloth.

handwoven silk shirt

Ironically I am also experiencing the call of the spring cleaning genie which I am ignoring as best as I can. I don’t want to get sidetracked into tidying when I can actually be designing. And¬†I did the really big purge a year ago so how much can there be to sort through anyway? ¬†When no. 18 is complete I can depart with whatever remains of the handwoven cloth!

The essential ingredient in being able to let go of old and prized textiles, such as my wedding dress and now my handwoven is in creating something new and beautiful from them; essentially giving them new life. I need not drag around the remnants of old life for the rest of mine. It is quite liberating this art making!

 

 

 

and they said it wouldn’t last…

Friday, January 27th, 2017

detail of screen-printing, vintage crochet and bridesmaid dress fabric

Yesterday I finished the wedding dress piece...hurrah! I started¬†Defining Moments 16: Marriage early last year¬†by dismantling my wedding¬†dress. Then I¬†screen-printed our vows to the dress fabric as well as some of the flannel lining. I hand-stitched a strip of lace from the dress, fused on bridesmaid dress fabric in squares of various sizes, free-motion stitched the entire background, hand-stitched a photo image of the happy couple walking down the aisle onto my headscarf, hand-stitched my great grandmother’s hand crocheted headscarf to the piece and then, drumroll hand-stitched the entire headscarf on top of the crocheted scarf to the then¬†5 layers of cloth. That last step took many weeks but was so worth it because I love how it all turned out.

My husband helped me carry it downstairs to photograph. When I asked him what he thought he said HUH!  Man of few words then, man of fewer, now 45+ years later!

It was so fulfilling to me to make this piece. Many on social media thought it criminal that I was tearing apart and painting my wedding dress while I queried, what am I to save it for?¬†My¬†mother who made it would’ve been honored to see what I did with it, I believe. And for me the screen-printing and stitching of the

detail of hand-stitching

vows was a bit of a renewal in itself.

Onward to #17…

musings…

Saturday, January 7th, 2017

detail of screen-printed wedding dress, lace and bridesmaid dress

In 2012 right after my Dad died and I was recovering from my second knee replacement, I felt like I needed a lifeline. I had been ruminating for at least two years beforehand¬†about creating¬†a mixed media women’s art group. So I chose 7 regional artists to join me, and six accepted. One from my past life in fiber, another three I knew from the arts council¬†and¬†functions there, while others¬†I knew of their work but had never met them.

It was important to me that they be working in different media than I and that they were already established, with a list of juried exhibitions, website, sales history etc. I had been in groups where I was the only one with that history and there was nothing for me to learn. I wanted more! We had our first meeting, set up ground rules and started right in inspiring each other with our work and process.

Now nearly 5 years since, the group has redefined our intention, seen changes and moves, lost members, gained members, retaining three original and settled¬†into a very comfortable¬†dynamic.¬†Now we are a group of six, three here and three in Sonoma and it just feels so right. We rotate each month, meeting in each other’s homes and/or studios. Although my original intention was fewer fiber and more other media, we now are comprised of five who work with fiber (paper and cloth) and one who works with metal;¬†yet none of us does exactly the same work. And all of us have long marriages, which that in of itself in today’s world is¬†both unusual and spectacular!¬†One of the things I enjoy¬†most about this group is the wisdom that transfers between¬†us as we each move in,¬†out and through our individual creative processes.

Last week I had been asked, by a visiting artist friend, how much time I spend in the studio?¬†She asked me if I work in the studio every day? I laughed…hardly! It varies I said but I guesstimate I work in the studio on average 7-10 hours a week. And yet that seems so completely inaccurate to me so perhaps¬†I should keep track. Or maybe count the times I walk past the door?

In¬†yesterday’s art group meeting the subject of studio time came up.¬†Not so much from the how much time do you spend in the studio part but more from the how much time is spent in contemplation and research for each new work? It was then that I really¬†comprehended¬†that so¬†many of my waking hours are spent contemplating the message for¬†each piece in¬†the¬†Defining Moments series. In¬†addition there is thoughtful consideration of how, as in technique to implement that message so when the viewer looks at the piece they understand what I¬†am conveying.

A lot more time goes into thinking about the construction. I used to be very spontaneous in my work, and still am to some extent; but there is also careful thought¬†of just how to construct it to get the most impact; and that thought occurs everywhere, in the shower, at the gym, while driving, ‘watching’ TV, when I should be sleeping, etc. Then there is the stitching. As I am incorporating more hand-stitching into my work¬†I ponder a lot about that.

Most recently I have also dealt with my¬†inner perfection critic… just how perfect these stitches must be?! I used to say I was a recovering perfectionist but clearly there is more work to be done on that front! I find it rather¬†remarkable that I am so drawn to hand-stitching, and sometimes actually crave it, yet when I do it, it’s so tight. A good metaphor for the state of my brain perhaps. So there is more thinking about relaxing¬†which is truly¬†ironic, although a good overall trait to possess.¬†When all of this is added up it seems I spend hours and hours and hours on the process, but maybe just 7-10 hours a week actually applying hand to fabric.

hand-stitching my headscarf through 4 layers of lace, cloth and batting

That said I am putting the final stitches, by hand, onto #16 which is about our marriage, which truly was a defining moment in my life. Because I thought I would be through by now, #17 is being drafted and #18 insisted on 3 am contemplation last night.  So progress is being made on the final 9 pieces of this series, which I still very much enjoy even if it takes up most of my headspace.

So how much time do I spend on my art weekly? How many hours are there in a week?

 

 

it’s the little things…

Monday, December 19th, 2016

the image I wanted to stitch to cloth…just married (1971)

One of the things I most enjoy about this series work is I am continually challenged by how to convey my message or tell the story. The piece I have been working on (#16) these past weeks is about our marriage. A couple months ago I began the prep work by dismantling my wedding dress, which my mother had sewn from heavy cotton pique, lined with cotton flannel. This dress was so well constructed & sturdy, I could have gotten married in the Arctic in January, instead off spring in the Bay Area. After I took the dress apart, I made Thermofax screens of our vows from a fill-in-the-blank book gifted by the preacher.

I printed not only the dress fabric but some of the flannel as well. Additionally, I had retained one bridesmaid dress which was also made by my mother. The wedding theme was based on my Russian heritage. The bridesmaids and I wore headscarves and their dresses were of a flimsy, but lined, cotton voile in a red/white/blue paisley print.

the headscarf upon which I wanted the image

The dresses were ‘granny’ style with a wide ruffle at the bottom. Initially I thought to incorporate the ruffle into the new piece but nothing about that spoke to me. I decided instead to fuse different size squares onto the now pieced wedding dress background. That gave¬†the entire piece a bit of a whimsical feel which certainly was not my intention, but worked!

I hand-stitched a piece of the dress lace vertically to the piece. Then I basted my great grandmother’s hand crocheted lace headscarf to the base and hand-stitched that down. Only in doing so did I find a few areas of disintegration that previously were invisible to the¬†eye.

My idea was to then layer and hand-stitch my headscarf on top; but something was missing. It didn’t¬†quite feel right as the¬†headscarf was a large triangle bound in trim and¬†essentially blank¬†in the middle. So I decided to hand-stitch¬†the image of hubs and I walking down the aisle onto the headscarf before I stitched it to the base.

the reverse showing the image printed to silk organza

That became my challenge. I didn’t want to trace it and potentially ruin the one and only priceless heirloom. I thought of several options but none seemed right, so I asked an¬†artist friend and a mentor for their opinions. And voila, from that came the solution. I printed the image onto silk organza which I pinned onto the back of the headscarf heirloom. Then I gingerly placed it into a hoop and stitched the image through to the headscarf. Only after I lost the light when the sun went down did I realize I could perfectly see the image from the reverse side, so I flipped it over and stitched from the reverse, remembering to knot accordingly. Ah success.

the finished stitching of the image onto the headscarf

In today’s morning light I cut away the printed organza on the back side and voila! I have exactly what I wanted.

It’s the little things that bring so much joy!¬†Onward to the next layer…

 

2nd layer showing part of GGM’s headscarf and bridesmaid fabric on top of screen printed dress…stay tuned!

 

coming up on #15…

Friday, August 19th, 2016
memorabilia photo collage

memorabilia photo collage

After an incredibly short month, a quick trip, a class, and a whole lotta hand-stitching I finished the new #12 not to be confused with the former #12. My reward for same was that I strained my dominant rotator cuff from all the hand-stitching. So I have spent most of this week recovering and finally today was able to get back into the gym, and into the studio.

Now back to where I was before I interrupted the series. Number 15 is about hubs. It’s interesting the stuff that is saved for us by our parents and that we then choose to save for ourselves. A couple years ago we found treasure in the attic, i.e. a box of his scouting paraphernalia: his Boy Scout shirt front which had been super glued to a stiff piece of cardboard, intention unknown; his Eagle Scout shirt respondent in patches and decoration, his Eagle Scout sash with 24 badges, plus all the paperwork for the accomplishment, the menu from the celebratory dinner, the letter from the then president of the BSA, a newspaper clipping about it in Swedish, another in English and a journal article. Most of this is going into this piece, or rather on to this piece as well as his Army photo, a couple great teenage photos¬†and fire department imagery. The shirt will be sewn on last.

Undoubtedly there are some who would criticize my use of these materials, as if I am destroying them. I met with some of the same resistance when I decided to dismantle and paint my wedding dress. I figure those who are overly sentimental have never truly cleaned out their attic or even begun to think about where all this ‘treasure’ will go when they are no longer here. I am simply upcycling, making art out of treasured cloth, which to me is far more exciting that having it sit in a musty box in the attic, to then someday be given to charity so some kid can wear it for Halloween.

I am pretty stoked to be on #15 (out of 25). It feels as though I have reached the peak of the mountain and am on the downhill slide. It feels good, and yet still so enjoyable.

and then what happened…

Sunday, June 26th, 2016

15.wed.dress.laceIn the month since I last blogged,¬†I completed, but not yet photographed #11 and #12 in the series. Synchronistically the Stanford rape verdict which made the news enraged me again¬†so I decided to go backwards and do a relevant piece and title¬†it the new #11 which will push the aforementioned two to #12 and #13! I went ahead and printed the cloth for the new eleven and will start stitching it next week. I’ve also gathered all the materials for #14 which I will start after I do the new eleven.¬†wed-040371

Today I began to tear apart my wedding dress for #15. I plan to both embroider and screen-print it.  My mother made my dress as well as the three bridesmaids dresses. I knew she was an exemplary seamstress but now have an even greater appreciation as I labored to take the dress apart! It was so well constructed it was very difficult to dismantle. It was not your average low cut sleeveless number but rather peasant style. The heavy cotton pique was fully lined with cotton flannel, apparently to give it body. We were not married in Alaska but Northern California in spring whereas the dress would have withstood an elopement to Aspen!

flannel lining of wedding dress

flannel lining of wedding dress

detail of handmade wedding dress

detail of handmade wedding dress

My¬†aching hands are¬†my reminder of¬†the¬†courage to tear the dress apart! I had about 10 seconds of remorse until I thought¬†what will I do with it otherwise? It doesn’t fit any one I know¬†who might wear it. Am I supposed to leave it lying in a trunk in the attic until I am no more, or move out of the house, and then it goes to charity? Or let some kid have it for Halloween? No! I actually feel really good that I am repurposing it.

I will likely toss the pieces into the laundry tomorrow to see if I can rid it off the old smell; after all it is 45 years old. And then I will begin the printing process.

As I have reached the midpoint of this series I continue to love this work!

reflections…

Friday, March 4th, 2016

reflectionsI spent hours today looking for ‘new work’ to submit to two juried exhibits. It was a fruitless effort which brought up a major pet peeve on this¬†subject. Dated work is something that happens predominantly in the quilt/art quilt world. It doesn’t happen so much, if ever in the fine art world. Galleries seldom, if ever, say no work made before 2013.

Since I have been engrossed in a three-year collaborative series since 2014 all my new work has been predominantly series work. I have taken time out to make a small piece for a fundraiser here or a members show there, but mostly nose to the grindstone on the collaboration.  It galls me no end that entry prospectus writers/curators request work made since a particular date; and that said date is usually just one or two years prior to today.

Granted there are clueless people who will enter the first piece they ever made in 1990 but most professional artists do not enter work to (a) “get rid of it” or (b) that is not their best work. Why on Earth would I want to show work that does not speak to who I am as an artist? Besides if they did allow entries from 1990, these shows are juried so the old work can easily be found and plucked from the pile. Think of the money they could make from all these fees for old work submissions! Another subject for another day…

People might say, well just make a new piece that fits the parameters of the call. I could but some 7-8 years ago I vowed to never make work specifically for an entry call. Never say never but mostly¬†I do not create work for someone else’s muse, only for my own. So that said I have nothing that fits the DATED call and so will not be entering my work. It is their loss really, as I see it. My work could add so much substance to their exhibit, were they not so rigid in their vision.

field trip

Monday, January 25th, 2016
Torn Earth, detail

Torn Earth, detail

Today hubs and I took a field trip to see Earth Stories at the San Jose Museum of Quilts & Textiles. The stars aligned with a dry forecast, moderate¬†weekend traffic as opposed to heavier weekday traffic and best of all no Super Bowl festivities! We¬†returned through San Francisco¬†on a gorgeous clear,¬†sunny winter’s day. It was well worth the trip and a fun date!

All the work juried into this exhibit dealt with an environmental issue. My work Torn Earth celebrates the work of Architecture for Humanity, a non-profit firm dedicated to building a more sustainable future through the power of professional design. The organization’s projects focus on post-disaster development, design and reconstruction of seismic resistant housing.

Torn Earth

 

 

 

I had perused the exhibit catalog but there is nothing like seeing the work up close and personal. It was really intriguing to see how each artist dealt with their own particular cause. I was really¬†pleased that my work was installed correctly and that the journal of my work was holding up well despite lots of travel and handling. Several¬†of the journals were falling apart;¬†some¬†were detailed and interesting¬†while others¬†left me wondering about the artist’s process.

Light Towers by Mirjam Pet-Jacobs

Light Towers by Mirjam Pet-Jacobs

 

 

The pieces I most wanted to see did not disappoint, like Dutch artist, Mirjam Pet-Jacobs’¬†Light Towers¬†about energy saving lightbulbs. The piece was silk organza with lights wired within the layers. The¬†engineering feat alone was impressive, and made an impact;¬†yet it had to be flexible enough to pack and ship abroad.

Another that had caught my eye was Alternative vs. Fossil Fuels by Cynthia St. Charles. Her extensively screen-printed background was stunning and engaging using different texts, in varied fonts but in similar color paint.

Alternative vs. Fossil Fuels by Cynthia St. Charles

Alternative vs. Fossil Fuels by Cynthia St. Charles

 

 

 

 

 

 

 

 

 

 

 

 

Kathy Nida’s¬†Wise Choice¬†was a piece was one that could be examined¬†for hours. There was so much intricate detail. Just beautiful and intriguing work!

Wise Choice by Kathy Nida

Wise Choice by Kathy Nida

 

 

 

 

 

 

 

 

 

 

 

Both Kathy York’s Crowded House

Crowded House by Kathy York

Crowded House by Kathy York

 

and Paula Kovarik’s Stream of Consequences were chock full of surprise. Kathy decided to count the stuff in her house which took her six months. She then wrote all the 56344 items on the work.¬†After the exhibit will she¬†have 56345?

Crowded House, detail

Crowded House by Kathy York, detail

 

 

 

 

 

 

 

 

 

 

 

 

One could’ve breezed by Paula’s and think, oh, pretty work, until stepping closer to examine the stitching which was remarkable. The story lie in the details!

Stream of Consequences by Paula Kovarik

Stream of Consequences by Paula Kovarik

Stream of Consequences by Paula Kovarik, detail

Stream of Consequences by Paula Kovarik, detail

 

 

Hope is The Thing With Feathers by Mary Pal, detail

Hope is The Thing With Feathers by Mary Pal, detail

Mary Pal’s cheesecloth image of Dr. George Archibald in Hope is the Thing With Feathers was really gorgeous.

 

 

 

 

 

 

 

 

 

While Valya’s He Knew That She Knew That I Know was stunning on a bright red wall. The detail was as interesting¬†as the entire piece.

He Knew That She Knew That I Know, by Valya

He Knew That She Knew That I Know, by Valya

He Knew That She Knew That I Know by Valya, detail

He Knew That She Knew That I Know by Valya, detail

Tender Gardens by Marion Coleman

Tender Gardens by Marion Coleman

 

I also loved Marion Coleman’s Tender Gardens about community gardens in San Francisco’s Tenderloin where there are no grocery stores.

 

 

 

 

 

 

 

And Leni Levenson Wiener’s It’s A Shell of a Problem about the endangered turtle and tortoise species worldwide

It's A Shell of A Problem by Leni Leveson Weiner

It’s A Shell of A Problem by Leni Levenson Weiner

Lynn Krawczyk’s Latte Landfill ¬†was¬†about 40% of stuff¬†in the landfill being paper products and coffee cups.

Latte Landfill by Lynn Krawczyk

Latte Landfill by Lynn Krawczyk

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

And Noriko Endo’s Woodland, another intricate and stunning piece from her woods series

Woodland by Noriko Endo

Woodland by Noriko Endo

 

 

 

 

 

 

 

 

 

 

 

The exhibit is up until February 28. You might want to go see it!

Earth Stories at San Jose Museum of Quilts & Textiles

Earth Stories 

 

 

Earth Stories at San Jose Museum of Quilts & Textiles

Earth Stories