I
often break “rules” that I find meaningless and I tend
to work in my own color palettes. To accomplish this I usually work
in silks and dye them myself.
Using hand-dyed
silks, high quality cottons and various mongrel fabrics, such
as glistening metallics, my assemblages
are layered
and quilted using the tricky technique of freehand, freemotion machine
quilting. The bulls-eye motif has become the foundation for most
of my work—a universal symbol that is perfect for corporate,
hospitality, public, healthcare and residential environments.
The colors
I am drawn to are saturated and rich—seldom
the combinations found in traditional quilts. My signature style
has
won many awards in fiber art exhibitions, multimedia exhibitions,
as well as fine art festivals throughout the nation.
How do I
do it? My blocks begin as squares with a circle appliqué in
the center. I “rob Peter to pay Paul” to build up the
layers—scrambling each layer. Then I quarter the blocks and
scramble again. These blends of color—truly an homogenization—lend
themselves to an exploration of dynamic quilting. The quilting may
reveal am image or motif that has a personal relationship to the
owner.
Whether creating a large-scale work for a very public space or a
small piece for a very private one, my approach is one of play and
insouciance. Even subjects as intense as racism and child abuse are
approached with a light heart and an attempt to get people involved
and talking.
I create
interest by interplaying multiple textures—matte,
rough, suede-like, smooth, shiny, slick, or luminescent—with
colors that when combined create resonances. Often I’ll incorporate
mongrel fabrics that have their own special qualities to enhance
that resonance.
Of late,
I’ve also played more on the backside.
When I dye the back I am presented with a nice large canvas that
inspires
me
to dabble with the various surface-design techniques in my toolbox.
More and more I am creating stamps, silk-screens and linocuts that
restate the journey begun on the face of the quilt.
Another aspect
of my journey is the quilting itself—the stitching
which joins the quilt face, the batting and the quilt back. I find
I am electing to create a motif that at first glance just catches
your eye, then, draws you in for a closer look. Upon the tighter
viewing you’ll see the motif again replicates the theme—perhaps
taking you to journey’s end.
My recent
work continues my exploration of color relationships—seeing
how color families communicate with each other is a constant, tantalizing
education. When the colors begin to speak or sizzle I just let them
go. What comes next always keeps me entertained. The use of the bulls-eye
block—an old traditional quilt block—creates its own
level of serendipity. There is always an element of surprise. That
is my addiction—the surprise.
My techniques are sound and created in such a way as to last for
generations. By focusing primarily on working with silk I am constantly
reminded of its rich history. Here I am thousands of years later
with the privilege of taking what was already a luxurious fabric
and manipulating its color and shape to create luscious color journeys.
Silk, unless exposed to excessive amounts of direct light or harsh
chemicals, has a history of lasting hundreds of years. I am just
as content to work in a collaborative environment or on my own.
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Susan Leslie Lumsdene
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