Archive | October, 2015

Opague or Illuminated


Here are images of the finished surface composition of the chest piece. The image on the left is opaque being lit from the outside, revealing how it would appear to someone viewing it on the wearer. The image on the right is backlit revealing the colors and patterns of the Murano beach glass suspended in the silk compartments.












This second set of images are of the backside of the chest piece. The distressed silk chiffon/tissue and the mending efforts to repair it are against the wearer’s body, unseen to those looking at the person . The image to the left shows the page surface as lit from the front and the image to the right shows the piece back lit with all the stitched grids.

For context of this project please read my first posting and those that followed about the DHG Charity Project in STRONGFELT’s Blog, INTRIGUE.


Completion of Reparation

Reparation_fullMy donation piece for the DHG Charity Project has arrived in Prato, Italy! Dyeing House Gallery has posted an interview with me on their site as well as the piece in their on-line gallery. It is now available for purchase through DHG with the sale benefitting the Meyer’s Childrens Hospital.

The last of stitching was on the machine to compress the rounded black cords into tight bands that would cross over the shoulders, connecting the chest and back pieces. The stitching made the cords much stiffer, appropriate since the muscles crossing my shoulders are so very tight, restricting my neck movement. Additionally, having these black cords stiff allowed me to hang the piece by fishing line in the middle of the cord to create an arch and not have the cords fold over and collapse. This created a negative space that one can imagine being occupied by human shoulders with the chest and back pieces covering just those parts of the torso. As you can see on the back piece to the left, the surfaces with the 3.5 mm silk chiffon that were distressed through the fulling process and subsequently stitched and repaired are facing inward against the wearer. The outward surfaces that would be seen by those viewing the wearer are less visually complicated and revealing.

For context of this project please read my first posting and those that followed about the DHG Charity Project in STRONGFELT’s Blog, INTRIGUE.

Dyeing Then & Now

1-LaTBT 1998 I had just finished my undergraduate degree in Fiber from Colorado State University in Ft. Collins, Colorado with a focus on the exploration of Natural Dyes. Within the following year I actually found a job utilizing those skills as the chief dyer for La Lana Wools (no longer in business) in Taos, NM. I am pictured here looking a bit tough, rough and tumbled in La Lana’s dye shed where I spent my days dyeing 1-2, 3# lots of wool fiber in each pot. I remember how clear I was about this being what I wanted to do and dreaming about having my own studio set up.

2-LaNow, 17 years later, I am still working with wool and natural dyes with an outside set up for dyeing as well as here in the STRONGFELT STUDIO. Excited to be rocking the pots this fall with madder and weld harvests from my garden and anticipating my class, The Color Grab, at Arrowmont School of Craft this coming week pertaining to the dyeing of natural colors of wool and a variety of silk fabrics and various mordanting practices.