Here are the next nine panels in my 100 day project.
Panel No. 64 // A Step Forward
This panel is a throwback to Panel No. 57 in that I used a similar structure for the punching template, which is an irregular grid pattern. Within each square I punched four holes to stitch this “leg” pattern that was pulled from an old doodle. The embroidery is done with burnt orange cotton floss over a dark orchid handmade paper.
Photographed on Binary, Lowercase by Tauba Auerbach. Made while listening to Lorde.
Panel No. 65 // A Step Back
As I was creating the panel above, I was beginning to fall in love with the backside. Using the same punching template and sewing in reverse, I created this panel with burnt orange cotton floss over handmade lilac paper. The ends are left exposed on either end.
Photographed on Binary, Uppercase by Tauba Auerbach. Made while listening to Lorde.
Panel No. 66 // Casserole
This panel is constructed from a single piece of sturdy woven paper that has been embroidered in a spontaneous and geometric pattern with pale pumpkin, burnt orange, dark straw and burgundy cotton floss.
Photographed on a heavily used oven mitt. Made while listening to Louis Armstrong.
Panel No. 67 // Knight Wiggles
The pattern for this panel came from some mathematically minded friends who found inspiration in the infinite moves a knight can make on a chess board (well the board has to be infinite, too). This panel is covered in light blue St. Armand paper and tooled with holographic and metallic orange foils.
Photographed on my husband’s face. Made while listening to Lower Dens.
Panel No. 68 // Party Cancelled
This panel is covered in a mauve buffalo skin with a design that has been drawn in with a heat pen. When the pen was left to dwell it would burn through the leather and create a singed mark. The remaining portion of the line is painted with Acryla gouache in misty blue and leaf green.
Photographed on a page from Hard Boiled by Frank Miller and Geof Darrow. Made while listening to Lowell.
Panel No. 69 // Lima, Peru
The vintage feed sack fabric is drummed onto this panel and has been couched with various threads to create a contour drawing of a cat. The goal was create something chunky and messy and also very quickly. For this I used pink and teal yarns with strands of red and light grey wool threads.
Photographed on my cat Lima.
Panel No. 70 // Have You Seen My Beans?
Back when I was creating my design for the binding Happy Abstract, I needed to remove an onlay because the color no longer worked with the overall design. I loved the way it effected the surface of the leather and I’ve wanted to recreate it since. For this panel, I glued down pieces cut from yellow chartruese and mint Moriki and tomato red St. Armand paper. After attaching them with PVA to a piece of dark blue goatskin and allowing them to dry I peeled them off.
Photographed on a page from Cool Beans by Joe Yonan. Made while listening to Lucy Dacus.
Panel No. 71 // Here Are My Beans
The way I typically work is by adding color through use of onlays, but for this panel I did the reverse of that. I cut shapes from Frisket film and arranged them onto a yellow goatskin. Using Acryla gouache in ash yellow, I painted the entire area then removed the film. The edges can be fuzzy from this technique, so to clean it up I embroidered an outline in antique violet, ocean blue and burnt orange cotton floss.
Photographed on a page from Cool Beans by Joe Yonan. Made while listening to Lucy Dacus.
Panel No. 72 // Paperclip Saturn
This panel is a bit whimsical and my only inspiration came from this strange planet drawing left behind from one of my middle school students. The panel is covered in a summer yellow cowhide with a planet blind tooled and painted with blue green Acryla gouache. A piece of checkered lace in blush pink sits atop the cowhide and is embroidered with the same planet drawing in dark teal green cotton floss.
Photographed on my feet. Made while listening to Netta.
