A Capable Lover.

The insight behind the truth and the citation of past experience is best documented between the lines of the fiction it parallels. In great fiction, a balance is attained between these truths and the unbelievable to create an unquestionably enveloping story. We are not only our experiences, but the interpretations of these experiences amplified by the stories we tell. The truth of the moment is preserved by our stories. This book is dos-a-dos bound, double-sided, with three covers. The two outside covers are hand screen-printed and embellished. Inside of one side of the book is a short story that I wrote, and the other side is a blank book. A synopsis might be pointless. The whole story turned into a synopsis, sort of. Anyway, I heard an old movie has the same ending, but I can't remember what it's called...

A Little More of the Same

A traditional floral fabric.



Gouache hand-rendering of traditional floral fabric, plus hand-rendered colorway.


CAD: Texcelle rendering of traditional floral plus stripe and coordinate.

Creating Worlds With Turmoil.

And they probably wouldn't survive the meteorites, which were headed straight for them. These monsters were printed in the spirit of building forts and new worlds when I was five, and Jonathan Hiett made Ken kiss Barbie, under the seat of the car, from the time we left until we came back. My mom told me she saw what we did.














These monsters are hand screen-printed on hand-dyed cotton canvas

Not the best picture, but this is what became of part of the yardage I printed. Jonathan Hiett is the owner of a set of these.
Using the Textile Design CAD program, Texcelle, I created coordinates and a colorway for the screen-printed pattern.

bikes

This pattern is hand screen-printed, using the photo emulsion method, and an attempt at repeat pattern registration. The fabric is hand-dyed cotton. The pattern is inspired in memory of Sharon Hiett, as well as are the quilted pieces below, but it sounds silly to me to say anything expanding on this.

The bikes to the left are free motion embroidered in gold thread on muslin. They are quilted and bound using a traditional quilt binding method.

'Patterns' Can Mean Many Things

This is the first blank book I made. It's about 12x12 inches and is bound with the coptic stitch. The front cover is paper, with a reverse appliqued, fabric dress, and the title printed on pattern maker's paper and placed in a recess. The back cover is made with the same fabric as the dress on the front, with another appliqued-on dress. The inside pages are blank pattern maker's paper and fold out to 24x24 inches. The paper came from a store in Savannah, GA called At Home, and the fabric is from an old table cloth of my grandmother's. It comes up several times in my work.

Eating off the pea pods

I made this table in a materials and techniques course based on wood. It is approximately four feet long, eighteen inches wide, and thirty inches tall. It's made of poplar, and is stained green.

The evolution of the artichoke flower

This motif came from cutting an artichoke, and stamping with it, using black acrylic paint. The motif was developed through drawing.









I then used the motif as an element in the above patterns and colorways. These repeat patterns were designed using CAD for textile design (Texcelle). They are a mild southern gothic tale for cloth, and I had the opportunity to tell the story in its proper medium (as seen below).




The shirt is a readymade. I distressed the fabric with bleach, and mixed the pigment of the print to match the lighter parts of the shirt, while reverse appliqueing a crochet rose window on the front, and secure holes on the back. I wanted to bring to life the concept in the CAD designs, and give this shirt the used and ethereal appeal that can be seen in the south's familiarity with, but often blind eye towards religion: a fable beautiful in tradition and intention.