Mounted textiles- Elevating Art

When I was first seriously considering creating a dedicated studio space, I attended the American Craft Council show in Baltimore MD and spent the entire day visiting the booths of and interviewing the textile artists present. I wanted to know about their studio life and how it intersected with their family life. I most wanted insight into a home based studio versus rented studio space in town. I think there were six artists.  I joined each of their mailing lists, follow their work to this day and even took an on-line intensive class with one of them I’ve mentioned here before: Lisa Call.  She lived in Colorado at the time and has since moved part-time  to New Zealand and remains a pivotal teacher for me in the way she lives out her passion and uses intense dedication to create the life she wants to be living.

Another artist I met at the same show also heralded from Colorado.  Ayn Hanna’s work was striking to me. It combined my previous loves:surface design, rubber stamping, mark making, ink work with fiber and abstract expression.  I saw her name recently on the list with my “not-round robin” mate Ann Feitelson, both featured in this years Quilt=Art=Quilt exhibit at the Schweinfurth Center in NY and was excited to check in with her current happenings.

Most recently, I had a blog post land in my mailbox  from Ayn Hanna, who was describing the way she mounts her textile work onto birch panels.   I mount my textile work too, but this method is one I have never considered and I love it!  She buys the panels, tapes on her work, drills secret holes under the corners and then ingeniously sews the corners of the work through the wood and knots it on the back. Then she’s rigs up the wiring, removes the tape and the piece is ready to hang!

I also love the way I do it.

IMG_6746In my method of mounting a quilted piece,  I extend the quilted piece with a border cloth as you would in facing a piece, use the extension to wrap the edges of my custom-built internal wood frame and thus leave the back of the work revealed.  It a method I worked on for quite a while, with my intention being having versatility in my framing sizes and maintaining easy access to the back of a piece, as that is heavily valued in much of the quilting and fiber world.

back of piece

The art collector’s world may not have the same attachment to seeing the back, and for pieces where this feels less crucial to share, I love this new to me idea of the corner mount. It can be easily reversed without damage to the piece, and yet has a relatively quick system for giving the two-inch wall rise that I’ve been seeking.

I love how ideas get shared and am filled with gratitude to Ayn Hanna for her generosity in sharing her method with the community!

Click to check out Ayn Hanna’s website for more of her work

Click to check out my not-Round Robin sewmate Ann Feitelson’s work 

Click to check out the Scheweinfurth Center exhibit

and if you want to see what I have to offer today click in the Big Top Quilts Etsy shop

As a token of my gratitude you can get 15% off any purchase there until December 1st.

The code is: GRATITUDE2015