stitching cuneiform

Seems to lend itself to fly stitch. I find myself wanting to make the stitching as decorative as possible, along with representing the cuneiform; enjoying the patterns made by the cuneiform shapes. I allow myself to turn my fabric through 90 degrees, as the scribes might have turned their tablets, pressing stylus into clay.

I wonder about those Babylonian ladies, stitching mottos into their loved ones' garments: spells of protection, charms to ward off evil. Is this the stitch they might have used?

And because Rachel enjoyed my seaside, yesterday's walk gave me this

walking

We have been encouraged to take exercise throughout this pandemic, for the good of both physical and mental health. Since buying a fitness band when I was still in work, I have made a concerted effort to increase the number of steps I do each day, when not constrained by higher levels of pain or exhaustion than normal. My first target, back in around 2017, and still deskbound, was 2000 steps a day. It has built since then to the point where I regularly reach my 5000 a day target and occasionally go well beyond. That won't sound like much to anyone with any sensible level of fitness, but for me it is an achievement, and tells me that I can probably manage more as long as I keep pushing, remain patient and accept that sometimes I won't even mange half those 5000 steps in a day.

We are fortunate where we live to have the sea within walking distance, and also very benign suburban streets where one can be aware of birdsong, the wind shushing through a hedge, low raking sunlight illuminating the leaves, and all sorts of interesting gardens to peer at. 

sunny skies or windy, the sea is always good to watch

there are fairies and gnomes of you look closely, I wonder what it's like when the lights come on!

There are so many interesting things to see when you are looking.

With the good of my health in mind, and with the help of the fitness app, I can now set myself distance targets and have managed nearly two miles on two different days. A long walk for me, with the occasional stop for breath catching and general realignment of aching bones! 

stitch and stitch

Our next task for Poetry of Stitch has been to stitch our curve once more, again four iterations, but this time all in the same direction, and all with line stitches. I have been experimenting with chain stitch, cable stitch, and now some couching. I am varying the placing of the couching stitch to try and create a lighter and darker effect within the curve, and have varied the chain stitch density and width with the same intention.

Sometimes the back tells its own story

And sometimes it's just rather fun

Progress so far, the top left being the "control", with just a single thread laid across closely spaced, to mark a starting point for this tonal exercise.

then there is the homework ....... 

Magick

There are old magicks in this landscape

Hidden things

Buried secrets

Secret flows

accumulation

Things are building up, layer by layer

The wider view

Playing with a scrap of organza, 

A river perhaps

The present past

To all the world, bar me, this is an unremarkable piece of laundry marking; a soft blue embroidery thread used to stitch a name with very basic stitches into the edge of a pillowcase. To me, this speaks of a soft faced, elegantly spoken, refined elderly lady with round, pink, powdered cheeks, Mrs Tiggy-winkle eyes and the sweetest smile, eking out a life of genteel poverty during the early1970s in the deep recesses of St Leonards on Sea.

She was Norah Moore and had been one of two ladies who rented rooms in Ganna’s house. They took up the top floor of an Edwardian semi, where they shared the kitchen and bathroom, but retired to their own individual rooms; paying guests. Mum and I took over those rooms when we moved to live with Ganna in 1968 after Daddy died. Later, Mum would take me to visit Norah, in her two room bedsit in yet another St Leonard’s Edwardian: this a stone's throw from Nanya's first abode with her three girls. I'm sure I was given sweets, butterscotch bricks wrapped in gold paper with a crispy crunch to them; Callard and Bowser as I recall.

Mrs Moore had been married, and had a little girl of her own, but some tragedy, possibly wartime, stripped her of husband, child and meaning in her life. I remember the sadness in me, that this kindly soul had gone through such tragedy.

I may be the only person in the world who remembers her

sampling

Although no stitching was done while away, since coming home I have spent some time with my Mesopotamia layered piece, this time a proper sample. Christine's advice was to pin the layers together, rather than tacking, as with every stitch you make, the organza and the layer(s) below make a little adjustment with each other. Pins can be moved to accommodate this. It was very fine advice.

So here: the base of hand dyed fabric, with its layer of marks; a layer of poly organza coloured with walnut and India ink if I remember; a snippet of the paper laminated piece with more floor plan imagery and a layer of seed stitch suggesting another building.

The next layer of seeding, at larger scale, with a thread which matches the colours on the fabric, both responds to what is below, and secures the coloured organza

Here using Emily Jo Gibbs' technique of stitching around the edge of the layer below 

finding shadows of floor plans, hidden beneath, or impromptu patterns from the combined layers.

Here stitching moves away from the absolute randomness of seeding, responding to what lies beneath, just as archaeology does, searching for treasure 

Sampling really does allow for experiment and experiencing the way the layers interact, how stitching can bring to the surface what lies below. 

My larger piece has more detail, though the seeding needs to extend further around the remains; I like the way they flicker in and out, depending on the colour in the hand dyed fabric below.

Once the sampling is done, I can think more clearly about how to develop this further. For now it is good to just consider