Takumi turned up suddenly to take me on a birthday date! I am so surprised that my son remembers my birthday, comes to surprise me, and will take me to lunch! My son has become a man!



Patti F sent me these fun boos. She tried to claim that one of these had an error, but I'm sure not spotting it. Wonderful!
Annie O (of Annie's Quilt Orts) made the fabulous soar - she wrote about making it here. There are NOT too many seams - you did a great job. What a fun font - art deco inspired?
Dye Candy's Chris Daly used some of her gorgeous hand-dyed fabric to make this beautiful live. I LOVE this i. Chris kindly sent me some of her fabric - the apricot, orange, pink and lime green colors in particular are gorgeous, but eek, I forgot to take a photo of it before I cut it apart to sew. Oops. I mixed them with other fabric and made a really cute quilt though!
On a completely different note, I got some beautiful Bonnie Blues from the Fabric Square Shop. I know, they aren't my usual brights, but they'll be great in the right project.by Lazy Gal Tonya (tartbr47@hotmail.com) at July 02, 2009 10:26 PM


I better practice some more! I am experimenting with watercolor pencils, it's fun.Here is a closeup of the African fabric bird. I guess he is a special favorite of mine. I think he will be named Joseph. Remember the Paul Simon song "Under African Skies"? Have you figured out that I am naming them in alphabetical sequence? It will help me keep track of how many I have made and sold and is much better, in my opinion, than giving them numbers! I have to think a little bit about, not only names starting with the next letter, but which one suits the bird. This Joseph's face is not "black as the night" but perhaps he does carry a little spirit of Africa within him. And how do I know if the bird is male or female? Well, I just know.
P.S. Here is one of my favorite versions of the Paul Simon song—a duet with Miriam Makeba.


I already know, consciously (What Makes A Series Work) and unconsciously that my artwork is driven by meaning.
But these past few months I have fallen in love again with my materials. I haul out 20 gallon containers of schnibbles. I laugh out loud at the overwhelming jumble of scraps, snips and threads that a truly sane person (non-fiber artist) would have chucked long ago.
I sink my arms down to the elbows and marvel at the compost of my art making — the softness and the plenty of it all. No wonder I throw nothing away; here is the vibrant history of all the fabrics I have ever painted.
I pick up my new scissors and revel in their sharpness and the smoothness of their cut. My new pins line up in yellow-tipped single file along the top of my design board. Oh, the luxury of having a sister who knows just what to buy me for holiday gifts.

I open a small green box and look at a tangle of spools of variegated thread, shut away years ago as just too weird and just too little of any one kind. Suddenly these threads with their crazy pink, yellow, blue, green and purple combinations are perfect for sewing together thousands of small pieces.
I celebrate each plastic core as it spins empty on the thread holder. Off it comes and another wild spool begins its journey to emptiness.
I fill five bobbins at a time and listen to the purr of the bobbin winder. The next time I fill ten bobbins. Why not? There’s plenty of thread and plenty of bobbins.
It is sheer joy to luxuriate in what’s already here in my studio. To use, freely and happily, the abundant fabric and thread accumulated over time.
What a relief, in this day and time, to find myself luxuriating in the things I love most.
Up and down my shopping street, watermelon is selling for 79p a kilo. There's a wholesaler on another road not too far away, on the 91 bus route, at this time of year has the shop constantly full of huge wire baskets heaped with melons, baskets stretching deep into the shop and spilling out onto the street, so much green roundness full of sweet red flesh. Sometimes you see the huge trucks (from Greece, Turkey) unloading.
by Cynthia St Charles (cstcharles@q.com) at July 02, 2009 07:04 AM
I have been selecting and fusing some of my indigo fabrics for an Aspen themed landscape. In addition to the indigo blues, I am using some of the colors of Aspen leaves. Here is the palette, so far. I love how those golds and oranges look with the indigo.
I have been struggling this week, but not because of the bad sinus headache, that is gone. On Monday, I had my physical with my doctor. I had all good reports — my blood pressure was 114/68. I was given 2 vaccinations — pneumonia booster and shingles. Well, I have had a very bad reaction to the shingles vaccination. Yesterday, I could barely do a thing. I had a temp of 101 and finally went to bed quite early. I managed to start fusing some fabrics, but really didn’t get much done. Today, I finally felt better, but still have a hot, painful rash on my arm where I got the shot. Argh!
Tomorrow, I am taking care of M and M for Steph as she is updating her shop with some adorable new animals on Friday. How cute are these? You can find them here, on Friday.
Tomorrow, it will be in the 90s, so I think some water play will be in order!
I tried to take some photos of Scooter with my iPhone at the end of our walk today. He has grown quite a bit. We love him so much. He is gentle and funny and a wonderful addition to our life.

Rather a grizzly cover, but interesting stuff inside, and a whole lot of artists new to me. Thomas Lawson, for instance: "in his view, avant-garde art had lost its adversarial character in respect of dominant culture ... he adopted a more oblique strategy [than overtly political art] called 'dialectical re-duplication', that is, turning the means of the mass media against themselves by reappropriating their images, styles and conventions of representation. Irony, aesthetic distance, ambiguity and contradictions were deliberately cultivated to reveal the hollowness of stereotypes and to slow down the process of assimilation." The strategy of subverting the system from within by accessing the art market through using an established medium (painting) and traditional genres popular with dealers and collectors, however, didn't work out as planned - "because the flow of money had so quickly replaced the flow of ideas." Lawson continues to write and lecture.

Twenty years ago we were married on a cliff called Battleship Rock, the place where Russ proposed to me.
It was a hot late June afternoon, and climbing the backside of the cliff in a tux and wedding gown was a challenging affair. It’s also difficult to find a minister who wants to do this sort of thing, but Russ had a friend who also happened to be a gymnastics teacher.

On the cliff we awaited the arrival of assorted family and guest on their poontoon boats, having been given a map and time on the cartoon wedding invitation that we had sent out a few weeks earlier.
Meanwhile, our friends in the Celtic Band played music in the nearby cove, on a handmade raft made of all found materials (an artistic idea, but a little risky considering their delicate instruments.)
Kids who happened to be jumping off the cliff into the water were happy to give us a few moments of quiet for the actual ceremony.
And then, being such a warm day and a little nervous about the whole affair, and just luckily having a blue and borrowed swimsuit on under the wedding dress, we peeled off the wedding garb and leap into what we like to call “a life of art together.”

Then it was back to Big Cedar Lodge, a happy reception, and the best twenty years of my life!
update: The photos in this post may seem a little dull. That’s because all our photo albums got water-soaked during a flood a couple of years ago, and though I’ve tried to restore them, they are not what they were.
We visit the rock where we were married each anniversary, and the landscape and nature there is still just as beautiful and inspiring. It’s great to live in the Ozarks and be able to enjoy the natural beauty that surrounds us here.

by Dijanne Cevaal (dcevaal@gmail.com) at July 01, 2009 05:14 PM
Get set -
Interesting exercise, this - do try it at home. Take a large colour picture of a face from a magazine, crumple it and arrange it into an interesting non-flat shape, and use a viewfinder (two L-shaped bits of paper) to find an interesting composition in your now-3D object. Paint it just as you see it - crumples, ridges, shadows and all - paying attention to the local colour. The dark areas will grab the eye, but it's helpful to work from dark to light rather than light to dark.
During the afternoon there were one or two moments of frustration. Hmm, maybe more than one or two...
But mixing up the flesh tones was a revelation. Basically you start by adding one colour to white - and whether it's blue, red or yellow makes quite a difference in where you go from there. Also, whether the red is crimson or scarlet makes a big difference - with one you get grey and with the other you get brown.
This picture shows the nearly 75 yards of fabric that I dyed using this method. It took approximately 2 weeks to complete this series.
Below, you can see the container system I use for this process.
Even though this water looks incredibly murky, the dye is exhausted. Any color could be added, and it would dye true.by Cynthia St Charles (cstcharles@q.com) at July 01, 2009 08:51 AM
I have been painting. I now have five (5!) paintings of the East Portland Branch Library, but nothing new worth showing yet (if ever). I have notions about painting a much bigger canvas dealing with the library, but notions are too airy to coalesce if exposed to blogging. And so…
On my way to Alder and 11th to paint, I always pass the Buckman Mural on the side of the Plaid Pantry. It’s looking better and better:

This mural somehow passed Portland’s interim rules for murals. Draconian rules were installed after an advertising company got called out for its blinking neon signs and claimed that, legally, they were nothing more than murals. The City Commission forbade all such activities but the outcry made them reconsider, so they then drafted something that insisted that big signs be “art.” Apparently that didn’t go over well either, so they’ve made further concessions to “Bidness” (as they say in Texas). In the meantime, however, the Buckman Neighborhood snuck a real mural-as-art into the system where it’s been grandfathered in. It’s been sketched on the wall for a couple of years, in various states of painted completion, but I see now the artist is down to adding humans to the scene. Joe Cotter is the artist and here’s a set of nice photos to check out the artist and earlier stages.
Beyond (diagonally behind) the mural/Plaid Pantry is that East Portland Branch Public Library that I’ve been working plein air. Here’s a bit of ornamentation that decorates the window boxes under each of the old library windows.
I’m a sucker for these kinds of things. The cement is soft and wearing in places and the windows have been cut into parts by the division of the room horizontally to make two floors, but the window boxes are still kept up. The building was designed by A.E.Doyle, who designed the downtown Public Library, and will be 100 years old in 2011. I figure by that time, I may have finished this series.
Oh yes, here’s a classic Portland sight:
That bicycle is inside the room, leaning against the glass while sitting on the “new” flooring which truncates the window glass. The leaves are reflected from the trees outside — horse chestnut trees in this case. I like imagining this building as full of people who ride bikes to work, but in fact, I saw one of them loading batches of stuff into a Zip Car and another on a little red motor scooter which matched her helmet.
Today was the last day I’ll spend looking at the Library as I paint it — the rest is to be done in the studio. I’m going to miss the place. I got to know a number of the workers there — they kept an eye on me and would wander out occasionally, just to check on the progress. If I ever get any painting from those days that is worth showing, I might have to go back with it. They invited me in often enough. –June

Wow! A few weeks ago there was a discussion on the QuiltDesigners Group over on Yahoo, and internet friend Diane Harman-Hoog of Quilters Keep Learning was prompted to do a quick search on me on the internet. Diane, you see, is a maven of family genealogy (spelling?). In just a few days, she had traced my dad’s family back to the Patrick who immigrated from Ireland in 1857, and my mother’s family back to Switzerland and Germany to 1590!!!!!!!! She incredibly generously sent me a TON of information (and discovered that we have a common ancestor in Edward Plantagenet!) and did this extensive family tree:
Dad’s family is the little cluster on the upper left portion. All the rest of it is my mom’s family, which has been in the US since the late 1600s. I had NO idea I had family ties to the Netherlands, Switzerland or Alsace-Lorraine (now France, previously Germany)! Here’s that corner of the chart:
And here:
And then there were tons of records including my dad’s 1921 passport application. I printed out over 100 pages of history into a binder (photo at top).
THANK YOU DIANE!
Woohoo! I feel like I actually got something done today. I got a sample bag made, and it went pretty fast. This is the Runaround Bag by Lazy Girl Designs, made, of course, in my hand dyed fabrics. One fabric has paintstik designs on it. I didn’t have a 12 inch zipper to match the fabrics, so making do with the yellow one I did have. I think it looks just fine…it makes a yellow stripe.
Front…
Back….with a heart embroidery stitch used as topstitching…
How about some antique buttons added…?
This is a cute pattern and makes up fast. The finished bag measures 7 1/2″ x 9″. I have patterns for sale.
I am planning what shows I will be attending this fall and what I need to have done as far as samples. This bag is one sample I wanted to make up.
On another note, I was juried into the annual Working Together exhibit to be on display at the Evansville museum from July 11 to August 28. This is an Arts Council exhibit. I have shown this piece in another post on this blog. It is …But Words Will Never Hurt Me (Sticks and Stones). I am happy it will be in this exhibit.
Rust dyed cotton sateen, discharge dyed sateen, screenprinting, stamping, stenciling, cotton thread, handwriting.

I cannot tell you how many hours of work it took to get this bookcase looking neat. Probably 6 hours.




Another long day tomorrow; I think I will skip my morning walk because I have shin splints. I thought you were only supposed to get those from running. Hmm...Last week was spent teaching an extended surface technique workshop . We had a group of 8 wonderful people who worked well together, challenged me and each other and in general, had a great time (as evidenced by the fact that the days simply were not long enough !). A few got started on or continued with multi-panel projects. Some focused on hands-in the-stuff production of raw materials.
We began with color work, then set up creative play stations, had some demos on working with transparency as a design element, a demo on stitch issues (using tricky threads) and concluded with a group sharing and discussion.
Here’s a small selection of interesting bits from the workshop:
monoprinting: a gelatin plate, and bubble wrap
Making friends with thread
mono-printed sheers, hanging to dry
various bits, panels and surfaces
what I did on Saturday, with a little help from my friends, thanks all!
***
next post i will add more photos of the raw materials produced, and some links to special artists
For details about Artistic Artifacts, one of my favorite places to teach, please visit this page.

by Cynthia St Charles (cstcharles@q.com) at June 30, 2009 03:19 PM

Blooming
I most love my gardens when they do exactly what they want, rather than what I attempt to impose. I found this stately bloom happily growing between some pavers on the landing of the terrace garden. It is a type of loosestrife, I believe. This Spring I removed the label from the place I planted it last year as I thought it had died out. No, it had just happily re-seeded itself down the slope.

I knew she'd been connected with the Fluxus movement in the 60s. Or thought I knew that, but apparently she didn't want to promote Fluxus, she wanted to be independent.
and sent out to find images, working in pairs. Juan decided to collect keyholes -
I had a complicated little scenario planned, but while unwrapping my kitkat (chocolate bar) at lunchtime, I had another (simpler) idea.
And here's a taster -
Of course the change of plan meant doing a completely different worksheet to back it up -
Homework is to research Yoko Ono and give a one-minute presentation. I realised I knew nothing about her art work - she's truly a famous unknown artist.I can’t believe it’s been nine days since I blogged here! First I have to go out and take a walk. The weather has cooled off considerably and this is a great morning for walking. The intense heat finally broke here yesterday. It was much cooler when I came out of church yesterday. 88 degrees actually felt good compared to what we have been having. Be back later.
What have I been working on? Last week I needed to get photography done for an entry that was to be in by June 30. Application had to be filled out, etc. This is for the Mid-States Exhibition that is held every year at the museum in Evansville. I have only entered once and didn’t get in, but this year I felt I had something that might get accepted. But who knows? The previous year that I entered, I was beat out by a nylon stocking with rocks or something in it that really looked like a bull’s testicle. It was supposed to be some sort of “necklace”.
Here’s some stitching I did on a deconstructed print…I am thinking of making some small bags with these prints.
I got out my Featherweight machine to do this with because I want to demo free form stitching with a Featherweight for an upcoming class. These machines can be a little touchy. I couldn’t get it to stitch in free form mode because the needle was in backwards. But once I figured out that’s why it wouldn’t stitch, all was well!
I loaded some new little bundles of fabric to my etsy shop and someone picked one of them up for a treasury. That’s never happened before and has increased hits to my shop, although not a sale yet. Keep fingers crossed. I need to keep working the shop, although I get sidetracked in the morning and forget to load pictures.
Piece of fabric I dye painted a couple of weeks ago…not sure where it’s going yet.

Jan and I continue our explorations of color (Color Exercises for the Painter by Lucias Salemme), and, glory be, we have reached Exercise 4. Exercise 4 calls for a painting rather than samples (see the photo above) of what you can do with various pigments. Because Jan (daughter) and I figure this is a good 5 year project and excellent for mother-daughter bonding as well as gathering of gossip, we make slow progress — we work only on Sundays when both of us are available and we don’t try to do too much in any one session.
So Sunday the 28th of June, we got to paint a landscape in “earth” colors. One of Salemme’s charms is that the book was published in 1970 (smells sort of musty) and uses concepts and language current during that period. My more hip artist friends have been a trifle critical of its drawbacks, but I, being ancient, see them as historical artifacts which might actually contain bits of truth.
At any rate, in Exercise 4, we were to use the “earth colors” and make an actual landscape: the paints “allowed” are raw umber, burnt umber, raw sienna, burnt sienna, yellow ochre, Indian Red, and terre verte (which Salemme call “green earth”, which I couldn’t find anywhere and am assuming that for artistes, the French has come to serve the same purpose).
Here’s Jan, excited about the prospect of painting and practicing her measuring skills. Or something:
Note that there’s nothing on the boards on her easel. She’s holding the instructions, which tend to be the opposite of Betty Edwards, our last artist companion. Edwards spelled everything out in such detail that we were left gasping; Salemme is pretty cavalier about what to do. “Paint a landscape. Use a rag to wipe out the light spots. Don’t use anything but earth colors until you near the end of the process.” OK, we can do that.
I disliked my painting, and so won’t make it visible, but Jan, who worked from the cover of a book about painting landscapes by John Carlson, did beautifully. You didn’t know that genes worked backwards through the family structure, did you?
Already her sense of color seems to exceed mine. I’m going out today and copy what she did — but hush, don’t tell her. After all, I am her mother and supposed to be the expert in all things. I wouldn’t want her to know otherwise. –June
By the way, Comcast shut down totally last night and is incredibly slow this AM, so my daily post, which normally is set to appear at 5 AM Pacific time, is now going to upload now, at 9:30. Or so I hope.
