Artist friends of ours stopped by the other day to deliver some art and, while they were here, of course had to see what I was up to. The textile piece of the wacked out I-5 Interstate was lying on a table, wrong wide up.
And, once again, I found myself being told how beautiful the backside of the work is. For painters (as these friends are) the unvarnished (I mean, un-snipped) backs of quilts seem magical. Or so they have told me, again and again.
This could make a serious artist crazy. It was the front that I was intentional about. The back hadn’t even been cleaned up yet. Which was, they said, part of its charm. It is, I said, what would make the quilt police go stark raving mad:
It’s a low-water dyed blue-black cotton (the front is silk). And the bobbin thread was varigated black/blue/pinkish-white or blue or white, depending upon what was happening in the front. There are bits of the top thread (mostly orange) coming through where I didn’t have hold of it properly or where the tension was a bit off. But the back does have that charm of a black and white drawing, with mysterious hanging niblets. Perhaps I should just enter into the upcoming exhibit with a photo of the back, as is. And skip snipping off all those hanging threads and nubbins of orange that appear there. I’ll think on it –June