A Frame for the Opus

A quick recap here….

The center section (Above) is stitched and ready for the frame. Perhaps you remember that my version of Opus Angelicanum will be framed with figures inspired by the Paracas Textile (see inspiration Below)

I had started sewing some of the figures (Below) …

…but realized that the FRAME figures needed to be just as perfectly sewn as the CENTER figures, if I was going to make an honest comparison. So I researched all sorts of traditional figures from different cultures, and made new figures (Below)

But when I arranged these new figures around the center, the effect looked “like somebody threw all their toys around it” (Below) Yes, sadly, you’re right, Daryl.

So….new plan (Below). The figures on the frame will be much darker, so when a viewer approaches the piece from a distance, the eye will be drawn to the center. Only as the viewer gets closer will the frame figures become recognizable as people.

OK. Researching more figures, and stitching them with crewel yarn (Below)

The wool doesn’t reflect light as much as the cotton floss, which will make them look even darker. And I’m adding in references to non-western artists (Below)

El Anatsui is an African artist who creates installations with thousands of pieces from recycled beer cans and wine bottle tops sewn together with copper wire. My first attempt to honor his art is the figure (Above) based on an image of an African man with clothing made from a wine bottle cover (the bendable part over the cork and top of the bottle). Next to him is my version of Frida Kahlo.

These figures SEEM to be dark enough when I pin them up on the center section, but no, they don’t look dark enough in these photos. More work to do. I’ll keep sewing while we go back to cartography. We’ll see if all these maps lead to any sort of actual artwork (not so far!)

Which will end first: the cartography studies, the Opus or the pandemic?