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Work-in-Progress about Cotton Hollow


Upstream/Downstream, 2024. 16.5″ x 21.” Watercolor made with brick collected at the site, gum arabic, and honey, on digital photo printed on Museum Cotton Rag

Trace

Experiment #1: Collaborating with water and brick from the site.

Using brick collected at the site I made watercolor, with gum arabic and honey binder. I then painted at the site, en-plein-air, and then briefly dipped the painting in the water.

To see a short video of the water lifting the brick off the page: https://drive.google.com/file/d/1R6cXNq1u26b_Evdxku1_ga5aXsW9CpBt/view?usp=sharing


Untitled/Cotton Hollow Quilting, 2024. 18″ x 24.” monoprints, India ink, thread, historical photograph on Museum Cotton Rag.
initial experiment in sewing fragments together

Disrupted Longing (a working title). 2024. 13.5″ x 24″ monoprints, India Ink, thread, photograph on Museum Cotton Rag
detail, Disrupted Longing

Studio Shot of work-in-progress
“Breach of Covenant” or “Three Large Miles into the Wilderness” (working titles) 72″ x 48″ monoprints, india ink, linen thread, marigold, sulfur cosmos, indigo ink, water-based screenprinting ink

“In 1639 the proprietors hired two surveyors. Starting at a point a little to the north of the present East Hartford line, the surveyors laid out 34 strips of land running east from the river “three large miles into the wilderness….the parcels varied in width from seven to 200 rods, probably according to the amount each proprietor had put up towards the original purchase price of Wethersfield…This survey of 1639-40 was the first official survey and layout of farms in Connecticut.” (p. 9, “Glastonbury: From Settlement to Suburb,” Marjorie Grant McNulty)

I imagined it hanging horizontal, but this is of what happened when I tried that, the weight of the paper almost ripped the piece. I do like this a lot – it looks like some water drawings I did recently, as well as camo, and it’s seeding ideas for a fabric piece.
the piece hangs off the wall
Many hours of coptic stitch sewing went into this piece. For me, sewing is repair, care, reparations, meditation.
I need help thinking through the construction of it
A view without the river. I like the aesthetics of this as well as with the river, but the river feels really important to the content. I’ve already made many concessions.

STUDIO SHOTS

“On Occasion of Trouble Hereafter” (2024)

11” x 16” monoprint with found objects: slag, coal, branch with lichen, acorn, brick, pottery, glass, soil, cow’s teeth.


Works-in-progress/Brainstorming: How do I engage historical photos in my work?

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