I’ve been working on test swatches this week as I puzzle through how to move forward with my next post-Roe stitched painting. The big question is how to integrate an overlay of stitched text within and on top of the painted imagery so that neither layer obscures the other. The only way to figure that out is to dive in and make samples.

Test #1: Ignoring how bad this sketch is  – see title of this post :^) – the main lesson learned from this sample is that merely outlining the letters wasn’t enough for them to be seen.

Meanwhile, as is often the case, my reading this week has overlapped with hands-on activities in the studio. I’ve been rereading Andrew Simonet’s “Making Your Life as an Artist“, and one particular passage stood out on a couple of fronts.

First, he equates artists with scientists noting that, similarly, we both begin with a question. Experimentation isn’t just for the lab, it’s essential in the studio as well. It’s a discipline that depends on both faith and a tolerance for failure.

Test #2: This early stage photo gives an idea of the various steps involved. First, the letters and a rough sketch of the face were outlined. This time I tried masking fluid to preserve the letters. Stitching holes have to be poked through the paper before the first layer of stitches can be sewn.

And while there is a lot more to Simonet’s discussion on the role of an artist than I’m addressing here, he also brought up another idea that stood out to me, especially on the heels of a friendly conversation I’d had earlier in the week. The individual I was chatting with prosited that the unsmiling faces of my current post-Roe pieces would perhaps not be as likely to sell because of their less-than-upbeat nature. I don’t disagree, but the fact is I’m not making these pieces with sales in mind; I’m making them to express a point.

To underscore that idea, Simonet says:

“We live in a time when we are inundated by images: pictures, language, videos, stories, music, bodies.

99% of those images are made for one reason: to get you to buy something. We artists are responsible for that tiny sliver of images that can be made for every other possible reason: cultural, spiritual, political, emotional.”

BIngo.

After sewing the first layer of stitches with white thread, the whole area is painted and the stitching absorbs the pigment laid down on the paper.

Yes, sales are important — I’d be kidding myself (and you) if I pretended I didn’t work toward them or wasn’t grateful for each and every one. But at the same time, I strongly feel that there is responsibility that comes hand-in-hand with the privilege of spending my time and energy making art. That duty is to frame things in such a way that, in addition to and aside from producing something pleasant to live with, I am also offering food for thought and a perspective which, in a best case scenario, leads to conversation and occasional understanding.
It’s not always pretty, but it is essential.

Once the paint is dry, the masking (both tape and fluid) are removed, the letters are outlined with thread and further stitching added to fully fill the area with texture.