Juried art submissions work in various ways. This one was unusual in that it required an early submission of work, even if not completed. Our goal was to have at least an overall vision completed. We had worked from the initial research and photography, through the composition of our images to printing and a large portion of the quilting and construction. The crow would act to unify the composition.
I collected all quilted sections to piece together. I found that because of the precision needed to follow the exact edge of the image, hand stitching with quilting cotton was my best option. The stitches could easily be pulled apart for Barbara to complete her front sections.
We both took photographs to allow for the best results to be used as required. The quilted section was photographed first, with the crow laid out and again with the back section of the crow propped slightly as it would look in flight.
We submitted 6 photographs showing the work as completed to date. A title was decided along with the following information: Mewinzha (a long time ago): Winds of Change
Size: Width 36 inches Height: 24 inches
Medium: cotton, direct to garment digital print, aquarelle, charcoal, balsa wood, silk fabric, sari and combed silk fibre, beads
Technique: hand painted photographic enhancement, hand quilted, silk fibre fusion
Participants: Greta Hildebrand and Barbara Westergaard
Insurance Value: 1,500
Mewinzha (a long time ago): Winds of Change
Our collaborative journey started by photographing historic burial grounds throughout Niagara; of people who lived prior to or through confederation. Our documentation includes the First Nations of Niagara (protected beneath crow’s wings): Neutral, Aneshnaabeg, 5 Nations Iroquois and Mohawk allies of the British. Crow, guardian of the land and ancestors, is on reconnaissance. He sees the United Empire Loyalists who fled the US followed by African slaves, British, European and Chinese who sought peace and prosperity. Although at times turbulent, the winds of change have also seen their moments of tranquility and 150 years since the “birth” of a nation.
Work In Progress:
The lower panels have yet to be completed with textural quilting. The work will then be stabilized (sewn down to an interfacing that will retain the desired shape and size) and then backed. Before it is attached to the quilt, a horizontal pocket will be sewn down to the backing (2 inches from the top of the work) which will hold a flat wooden rod as a hanging devise. Eye screws with hanging wire will be fixed to the top edge of the rod, through the sleeve. The crow will be raised slightly and tethered to allow air movement beneath the body, to lift the crow and create the illusion of flight.
We will update as this exhibition comes together. It does not have to be submitted until April of 2017 in celebration of Canda’s 150th anniversary.