Block 997: April 16, 2016



Date: April 16, 2016

Crane: 997

Days Spent on Project: 1151

Location: NW Portland, OR

Person I would have sent it to: TBD

Music I listened to while sewing: Currently, Sia… before that Katy Perry… before that Carly Rae Jepsen… before that some (well, a lot of) Alexander McQueen and so on.

Thoughts/Feelings behind the block: What were my reasons for including the music I listened to while sewing these Cranes?

Where did that idea come from?

Perhaps I wondered if the music I was drawn to throughout this project- and day to day- would give me some insight into my moods and feelings. Perhaps I was just curious to see if my tastes would change throughout this project. Perhaps I was curious to see if the music would influence the color and pattern combinations I chose.

Would some music- looking objectively at the process and the past- would some music key me in to my moods?

I’m sure it started out with a question for me. I’m sure I was curious to see how or if music would be important to this process. Would I need it when I sat down daily to make a block? Would it help me meditate and think and reflect on my life and my day and myself?

But, it’s purpose has grown as the process has continued.

If I ever get the chance to display this project somewhere, I hope it’s in a venue large enough that every Crane could be seen in the same room. I hope it’s inside.

And if this Project is going to be displayed for a period of time, I want to score it. Much like a runway show. But, much more like the work “The Event of a Thread” by Ann Hamilton, that was commissioned by and shown at the Park Avenue Armory in New York, I want this project to have an aural component. I never saw the work; I wish I had seen it because the pictures and the documentation of the experience looks breathtakingly beautiful.

If I could, I’d find a way to splice together sections of all the music that I’ve listened to during this process.

Fort Fairfield next to Sondheim next to Hamilton the musical next to McQueen shows next to Taylor Swift next to the Supremes next to the Sleep No More soundtrack and so on… is there a way to underscore faintly the experience of seeing this project with the music that underscored my process of creating it.

I think it would be a great touch, walking into a calmly darkened room, tree illuminated the center, with a 1000 quilted blocks tied off of branches, and each one delicately lit so the focus is on them, nesting in that tree. I think it would be great to faintly hear some music. I’m not sure if it would be disruptive. I’m not sure it would be necessary.

It might be completely jarring to hear Taylor Swift’s “Shake It Off” quietly piped in through speakers while you see this. It might not. It probably would be.

But, to immerse the audience in the experience, I think there has to be a carefully curated aural aspect when you encounter it. I’m sure there will have to be. I’m sure there will be.

I’m sure there’s a way to do it.

2 thoughts on “Block 997: April 16, 2016

    • Hey! How I chose my fabrics… It wasn’t anything pre-meditated or pre-determined. When I lived in NYC, I would go to The City Quilter on 26th Street and buy fat quarters or quarter yard cuts of anything that seemed interesting. I was always on a budget, so I’d try to spend no more than $50. (I have spent a lot of money on this…) I’d TRY to get at least one or two reds, oranges, yellows, greens, blues, purples, blacks, browns, greys, and whites just to keep the possibilities more open. Originally, stripes terrified me but I got over that. Batiks were always fun. Any pattern that was really “illustration-y” was something I always tried to avoid. When I moved to Portland, OR, I started shopping at Fabric Depot, and gave myself the same rules. When pairing the combos… Hm, it was sometimes very hard to choose and sometimes very easy. I told myself to commit and not judge and try anything. I figured I had 1,000 chances at this, so was there ever really a reason to doubt a choice?

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