Wee Celtic beasties for silk scarf design 8//15, Literrata link

Wee Celtic beasties for silk scarf design 8//15, Literrata link

Celtic knotwork drawings for silk scarf designs 8/15

Dragon, dye and gutta percha on silk habotai, Sharpie, 9.5" (painted in 2014, redone in 2015 for a banner)

 

Silk dragon 9.5 ", habotai silk, 2014, Literrata link

Silk dragon 9.5 ", habotai silk

Russian River mouth at Jenner, 2013, silk dye & gutta percha, 8 x 8"

Russian River mouth at Jenner, 2013, dye on silk

 

Silk paintings, drawings, Russian River variations, 2011, Literrata link

Silk paintings, drawings, Russian River variations, 2011, Literrata link

"Russian River 2", 10x10" habotai silk, 2011

The former (Scottish) mayor of Rohnert Park's wife bid on my silk piece but it went to the woman who runs J wines! I work in multiples.below is another version, and the original drawings.

Silk panels for quilt, 8 x 8”, International SPIN conference, New Mexico, 2005

Panels for a silk wall hanging for the 2005 international SPIN conference in New Mexico. It became a traveling exhibit. Last I heard it was in Oz. Mt St Helena, a coyote howling at the moon. A bluejay and a salmon, all totemic animals.9x9" habotai silk, dye and gutta. More here.

Silk scarves, floral, 9 x 54” 2004

Cyclamens for an art quilt, habotai silk, dye, 8 x 8” 2004?

I was asked to make a square for a quilt for Neil's ashram gardener who was retiring due to illness, so this was a healing quilt, it was on display at the Oakland Sidda Yoga Ashram for months. This was the first cyclamen I drew. I’m not sure of the date. Habotai silk, metallic gutta, salt, and dye; 8x8".
Cyclamens, silk, Literrata link

Cyclamens, Art From the Heart, silk habitáis, dye, 9.5”

Final piece, sold at Sonoma State University's 2004 Art From The Heart annual fundraiser. So it exists solely in cyberspace. 9.5" habotai silk, dye & gutta. 

Second draft, with salt technique. Note the appearance of an uninvited guest, a snail. Color is dull in the full image.

 

First draft. cyclamen. The color of the detail is more accurate than the full image. 9.5" habotai silk, dye & gutta.

Gutta sketch for silk hoop, Nile iris, ca. 2003

I tend to draw from nature whenever possible, vs my imagination. So I drew this in the yard in Oakland, I abandoned it, as I didn’t like it. Silk is an expensive piece of paper. Drawing with a gutta-filled squeeze bottle with a metal nib, is an exacerbating process. The gutta percha is like thin clear glue. And the gutta flow is affected by weather temperature. I think I did complete another hoop of the Nile irises.

Lilies, 2 silk, 2002, Literrata link

Lilies, 2 silk, 2002, Literrata link

Celtic beasties on habotai silk hoops, 9.5”, 2002

Celtic beasties on silk 2, 2002, Literrata link

Star lilies, 9.5” habotai silk, dye, acrylic gutta

I love the shape and intense coloration of intact star lilies, but florists cut off the stamens. The odor is overwhelming so I work quickly and outside. I don’t have decent photos, so these are direct scans pieced together as they’re wider than the scanner. The acrylic gutta didn’t work, hence the color bleed. Middle one is from 2001, probably drawn in Dec., as I tend to work in series.

Lilies, silk, 2001, Literata link

Celtic bird, ca. 2001, detail, 8”, Silk painting; dye & gutta

Nasturtiums, silk, 2001, Literrata link

Nasturtiums, silk, 2001, Literrata link

Celtic beasties on silk, 2001 4 x 6”

Celtic beasties on silk, 2001, Literrata link

Star lily, tulip, iris, 9” habotai silk, dye, acrylic gutta, 2001

 

Celtic scarf, silk habotai, acrylic gutta, 12 x 60”, 2000

I made this Celtic scarf as a prop for finals in my MA MFA playwriting classes on monologue at San Francisco State University. Making the scarf went off without a hitch, after a lot of research, I banged the drawing out in about 45 minutes, and another hour or so for painting it with dye. The pin I was using to hold it in place, slid off during my monologue, and Justin Chinn dinged my performance for a costume fail. It was a monologue reading for fucksake. He was an absolutely horrid teacher, resting on recent theatrical accolades, and should never have been teaching. The class was a required waste of space. I called him on it. He gave me a C-minus for the class. I had worked hard in that class, so I fought the grade and won. But the A-minus dropped my entire MA/ MFA perfect GPA to 3.9. May he rot.

I also simultaneously used the St. Brigid scarf for a final in my Celtic studies class with Professor Dan Melia at UC Berkeley, I came to class dressed as the goddess/St. Brigid, so it must’ve been Imbolc, February, 1, 2000, as I began the poem in November of 1999. I made a halo of twelve candles (little battery operated Xmas lights) dressed in purple robes, a green Celtic cape, and kirtle with all her symbols attached to my costume, including a candle, an iron horseshoe, and a rubber chicken, I read a version of my poem monologue, and prepared a traditional Celtic feast for the class. Salmon, bread, and beer as she was the goddess of the hearth, bread making, and beer making. Dan sniggered and said you can’t bring alcohol to class, pocketed the Guinness for later. I got an A-plus. Sadly, I don’t have a clear in-focus photo of the scarf.

First version of the poem:
BRIGHID OF NAMES— A TRIPARTITE LIFE

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