The last step of the painting process is to add small details, fine lines, and handwritten text to provide another layer of visual interest as well as give me a way to incorporate the words of the community members into the work. The writing consists partly of words from notes I took during the interview process. Names of animals, thoughts about the community, friends, schools, daily chores and activities – these are layered into a network of text which isn’t specifically meant to be read, but rather serves to “weave” these experiences into the texture of the work.
One of the interviewees, Charlotte Kerksiek, was a farmer’s daughter who spoke of her experiences growing up on a farm. Her father had come from Germany to live with an uncle in Iowa when he was 15 years old, and later started his own farm with his wife. Charlotte spoke very fondly of her parents, who were “country folk” and “so in touch with the land.” She remembers the lessons they taught: “to work hard, be honest, and pay our bills.” She brought written notes describing her memories:
I can see Dad walking through a cornfield, changing the irrigation water, leaning on a hoe in the garden to view the sunset, then pausing to point out a ‘Sweet William’ flower to me. His name was William. I can see mother hanging out the wash, separating the cream, gathering the eggs, walking down to the barn, hoeing in her garden, baking a cake for the afternoon club meeting, curling my sister’s hair.
On a farm you see and feel life around you and you learn to respect it. You know the real origins of milk, eggs and bread, that they don’t just spring up from the super market.
She also gave me some photocopies of pages from her father’s daily journal and some pages from his financial ledger, with a meticulous listing of receipts and expenses – for groceries, gas, hens, equipment, loan payments, payments to laborers, and various & sundry – including $1 for 2 lbs. Rat Poison, $6.60 to a furniture store for a baby bed, and $1 to a doctor for a baby checkup.
I also have photocopies of two letters he wrote, which allowed me a fascinating window into one man’s experiences as he built a life for himself. From a letter written from Kansas in 1935 (before he started his own farm):
Dear Friend:
Another year has run its course, we are again a year older, but have not much to show in financial gain, only a little knowledge added to our store of thought, but I am ready to admit that I have not gained much, even there. Am afraid that I do too much reading of rubbish and not enough of the kind that would improve one’s mind.
I am sure at last that farming will be my Life’s Work, although other things may be added, they will only be side lines. Farming will be the Main Feature, and it will be absolutely diversified. Cattle, Hogs, Chickens will the the main stay until I get a stronger hold, then Horses and Sheep may be added. Grains of different sorts and Silos when possible.
I scanned some of the text from the journal pages and made Thermofax screens for printing onto the painted piece. Because of the very rough surface, though, this didn’t work as well as I had hoped, so I switched to writing directly onto the piece itself, copying words from the journals and from my notes. I use a small squeeze bottle with a metal tip to do tiny details and writing.
I have really enjoyed seeing your process. Your quilt is very beautiful. Thanks for sharing!
great piece. Congradulations
I just discovered this wonderful blog series – so I didn’t have to wait for each installment! I love your work and am so fascinated to see the process. Thank you for sharing this!
Nice to see the details! I couldn’t tell from just the photo of the piece, that you had added so many more things than just the paint.
Deidre, this was wonderful to watch and read! The process is so touching in that it involved the larger community and I teared up at the woman sharing her father’s diary entries…just precious!
Thanks, everyone! Karen, yes, that was very special to me as well. Her obvious love and respect for her parents was so inspirational, and her way of storytelling made me feel (and wish!) that I had been there at that time of newness and promise for the future.
This is a fascinating series of posts.
Hi Deidre,
Just saw your post in the SAQA group so came to your site to see the finished piece. I am so bummed you didn’t tell me about the opening reception! I would have been there to support you (as well as to see your beautiful work in person.)
I can see why they selected you — they got so much more than they anticipated, I’m sure. Your piece is gorgeous and now, I shall have to make that long drive to the eastern plains to see it in person!
Congratulations on this commission!
Thanks, Carol. The reception was during the day and they set it up on rather short notice, plus with it being so far away, I really didn’t think anyone would want to come. Sorry about that!
What I don’t understand is: how could you quilt it before painting, with all these clashing fabrics.
I wouldn’t know what to do, as I like to be guided by THE quilt top itself.
wonderful to travel through the making of this quilt with you. thank you.
Thank you for sharing the process of making this beautiful quilt. The depth of your research and how you used the various pieces you collected is inspiring.
Because of your attention to the “little” details, this art will be enjoyed for a very long time. I have enjoyed reading about your process and seeing the beautiful results I only wish I lived close enough to view it in person. Thanks for sharing your design process.
This is a wonderful description of the making of a great quilt. Thank you so much for sharing it with us. ginny
Thank you so much for sharing your process – I love the depth of research and layers of meaning you have incorporated. Maybe you should include one of those smallish digital picture frame thingies next to your work in the library, and have your videos play in a continuous loop so everyone who views it in the library, can learn and appreciate the meaning you have created in this artwork.
Absolutely stunning.
Chimo,
Jennifer Cooper
I loved the series – and was really quite surprised how strongly the work comes back to that first image of fields, rolled hay and light sky. I posted it to a couple of lists as I know people will be interested.
Jenny
Thanks, everyone.
Jennifer, the library has already done something similar to what you describe. I gave them a bunch of photos, and they put them together with quotes from the project contributors and visitors to the library, and they have a slideshow playing on a TV screen in the lobby. They did an awesome job, and it’s very cool.
Jenny, I don’t remember if I mentioned this anywhere, but I wasn’t working from that photo at the time. I went back afterward through all my photos because I knew I had a bunch that were appropriate. It’s rather a ubiquitous scene out here. Also, thanks very much for the postings, I appreciate that!
It is just stunning – but please, what sort of pen did you use for the white writing? It is beautifully opaque and fluid.
Hi, Jenny, thank you again. It’s mentioned in the very last sentence of the post, a bit hidden perhaps. I use a little squeeze bottle (link above) combined with a fine metal nib – Jacquard makes them for silk painters – I believe for resists. Very flexible because obviously you can mix up and use whatever you like in there. The paint does need to be rather fluid, and if you use acrylics, the tiny hole clogs easily. You need to be sure to store the bottle/nib in something airtight when not in use for even a couple of minutes, and the nibs have to be cleaned frequently.