My Polly Kettle patches for The Constellation Quilt are all finished! Next comes the trickiest step so far; getting out the graph paper and figuring out what the proportions of the quilt will be. I envision half size rectangles between these squares, embroidered with found text and my own, and appliquéd with moths (there they are again) and moons.
I”m so loving the rich colours of these patches, and their mystical patterns.
To get myself in the mood to write and quilt I’ve written a Polly Kettle-inspired piece, which I’m going to share here, although it’s very much free, stream-of-consciousness verse, and I’m not sure if it’s finished or not yet. Polly is an occultist, part witch, part fortune teller, part medium, and so this piece has occult or supernatural themes:
Gossamer muslin blossoming out of gossiping mouths speaking in tongues and sipping mixed spirits, mixing with spirits, leaving ghostly lipsticks on spritzer glasses and crystal tumblers, wiped away with a white ‘kerchief; a parlour full of parlour tricks, above the mantelpiece the old clock ticks. It is well past the witching hour, and we are bewitching, we are divining, and we are divine, on the divan we deviate, we divide and conquer the dead and the living.
We swoon, we cry for the moon, eyes big as flying saucers, full as a saucer of milk. We three sisters, hag, maiden, whore. It has to be one or the other, the spinster, the mother, the fresh-baked home-wrecker with her wrecking ball.
Hush now sisters; I see a tall dark stranger in my future, the future’s mine, the future’s bright, mine eyes have seen the glory of the ghoulish night, and I’m a moth to my future’s white hot flame, my turban is tattered and unravelling, and I’m suddenly a slip of a thing, thinner than a paper moon, and I see a girl naked in front of her lover, I see my lover in soft focus, vaseline smeared on the glass, I must wait for my crystal ball to clear of mist, I must adjust my lens.
As explained in this article, “ectoplasm” that was produced during Victorian and Edwardian seances was, in fact, muslin, or some other thin natural substance, hence my mention of “gossamer muslin blossoming out of gossiping mouths“.
I’m currently collating all the writing I can on stars to get me inspired for the small passages of poetry which will make up some of the patches spaced between the Polly Kettle squares. As well as writing my own snippets, Virginia Woolf’s The Waves is proving a mine of stellar imagery. It was given to me by Pip for Valentine’s Day, and by coincidence was going to have moths as its central motif, not waves… I’m sure this will act as inspiration for the lunar moth(s) I’m going to add to The Constellation Quilt!
Yesterday I accompanied my Granny to a quilting workshop at the Kilchoan Learning Centre. I went along partially as research for The Constellation Quilt. However, I think my quilt will be rather less elaborate in construction than the table mats we were aiming to make; I didn’t get very far at all, and my efforts came out very wonky!
Despite this, the workshop provided a wealth of inspiration, as Joan Kelly, the workshop leader, introduced us to many quilts she had made over the years, all with their own stories and techniques. I was particularly intrigued by her use of three dimensional applique. A border stem was painstakingly rendered by tucking and sewing the rough edge underneath the flowing shape. Even more inspirational was Joan’s exquisite hand quilting. When the quilt has been finished and bound together, a design is sketched in dissolvable pen, and executed in running stitch all over the quilt. I think I’ll be brave and try this embroidery quilting technique on The Constellation Quilt.
I particularly liked this jewel print fabric, the backing of a quilt for Joan’s son.
My paltry efforts!
The beginnings of The Constellation Quilt are going rather more successfully (but then again, I haven’t sewn any of it together yet!) I am currently spelling out my witchy fortune teller character Polly Kettle’s name in appliqué on squares of African print fabric in rich purples and golds; stardust colours.
I hope to have Polly’s “surname” finished soon, and then it’s on to embroidered and cross stitched sections of the quilt.
A week before the season’s end, I’ve finished my winter project. What To Look For In Winter? ends on a slightly melancholy note, with the heroine, who is now ready for a new season and new love, wondering what to look for when the weather turns colder again.
But what to
The yellow thread that I chose to embroider the phrase picks up the celandine and coltsfoot blossoms in the illustration, and contrasts with the blue moth print paper which lines the index.
Moths will continue as a motif in my next project. Now that I’ve finished my modest winter undertaking, I feel ready for a more ambitious make; I’m going to attempt my first quilt. The Constellation Quilt will focus on my character Polly Kettle, and writing about the stars and night.
In the meantime, here’s the completed What To Look For In Winter, a winter’s worth of writing and sewing.