I want to finish with a quick look at the main ways that pattern was used in this piece, and how this affected the rhythm of the piece. The primary pattern motif used was a simple swirl. The swirl forms the spirals of the garden’s raked gravel and is seen again in the swirls of the clouds. To add variation to the rhythm of the clouds the spiral was changed slightly on each long side. One side has four swirls per pattern and they are facing down, while the other side has three swirls per pattern and they are facing up. The three-swirl pattern also has less swoop to its swirl. This variation is possible because the pattern is divisible. It is the repetition of the swirl that creates movement and really brings the clouds to life.
The swirl used as the base pattern for the gravel is non-divisible because the entire set of swirls together is needed to create the pattern. Each swirl’s base line was adjusted to reflect the shape of its particular stone. The swirls are flipped in a pattern that demonstrates alternating rhythm in the garden’s main courtyard. This adds interest while keeping the focus on the stones in each spiral’s center.
Pattern is also a part of the geometric design on the outside lid of the box and can help us think about how people are the same, yet different. One of the fascinating parts about the Chinese Geometrics technique is that all of the internal design is created by a single embroidery stitch – the Fly Stitch. By varying the length of the ‘arms’ of the stitch you can create a vast number of variations from a single concept.
I chose to limit the variations I used to keep the design from becoming chaotic, but if you examine the original inspiration for the outside lid you will be amazed at the number of variations from a single simple stitch. The piece’s interest is created by color as well as fly stitch variations. This helps us think about how much variety can come from simple tools and materials. Do not we all have basically the same bodies, yet each person is unique and beautiful.
As I have shared some of the design features of my Zen Garden box I have also shared some of my ideas and reflections on the lessons it makes visual. I invite you to share what you find as you reflect on the Zen of Life.
Asymmetrical balanced is used in the placement of the clouds along the long sides of the box interior. The clouds are meant to represent some of the difficulties that can make our journey through life a challenge. While the garden space itself is calm, the surrounding area is full of ambiguity and the way is often unclear, much like our lives. Clouds obscure, like the challenges in our lives, yet they also create interest.
The areas the clouds cover are roughly the same, but the side panels are flipped when they are placed in the box. They offset each other, changing the rough symmetrical balance into an asymmetrical arrangement. A simpler example of asymmetrical balance is the larger trees on the left that balance the sloping hill on the right.
This photo is of the work in progress. You can see that the houses and clouds have not been stitched and the paths are only partially finished. The path through the mountains is an example of a progressive rhythm.
The mountains are painted in a stylized manner consistent with the traditions of Chinese landscape painting. Each of the mountains has a similar rounded shape and their size decreases as they overlap and recede into the distance. The same is true of the small red houses that perch on their slopes. The houses are all based on the same basic design that has been adapted to indicate distance by using a progressive rhythm. The path to the top of the mountain is clear, and there are homes/rest stops along the way where a traveler can receive help, but it is still a long road with many lonely stretches and the clouds that will fill the background stand ready to move in and make the trip more difficult. I imagine that by the time the traveler reaches her final destination, she will have lots of interesting tales to tell about her journey. If the way was clear, her story would be less interesting.
An example of symmetrical balance in the piece are the Eternity Gates found on the inside short ends of the box. The gates are positioned symmetrically. The two shoji gates are meant to represent birth and death – the gates to life, as we know it.
The Eternity Gates are done with a Casulguidi stitch in colors that traditionally represent life and vitality (red)[i] and the mysterious or unknown (black)[i] in the Japanese culture. The mirrors are placed so that they reflect each other.
This did not turn out as well as I would have liked. I made them as large as possible and if you were walking in the garden you would see that each reflects the other – creating a reflection that continues into eternity. The viewer of the garden does not get this effect since they can’t look into the mirrors at the correct angle. I am not sure how to fix that problem, but they are symmetrically balanced!
The central courtyard of the garden itself demonstrates symmetrical radial balance. Each of the stones are placed in the center of a spiral, the spirals are flipped along an axis, creating symmetrical balance that represents the twists and turns of experience. Each of the stones is polished to a different level representing the effect that life experience has on each of us. We may begin as rough as the ‘child’ stone, but by the time we near our ‘old age’ stone we have become smooth and our true colors shine forth in beautiful radiance.
The stones are Poppy Jasper, a mineral that is only found in my hometown, Morgan Hill, California so it has special meaning for me. I have lived here all of my adult life after a childhood of moving from place to place,[i] so this is where most of my ‘personal polishing’ has occurred. The swirls represent the raked gravel found in a Zen garden. The monks who tend these gardens rake the gravel into patterns as an exercise in meditation and focus. They strive to create perfect placement of each ridge, even as we strive for perfection in the areas of our lives which are important to us personally. Now that’s something to reflect on!
[i] I moved 27 times before I graduated from high school. Since I moved to Morgan Hill when I married I moved once – a mile down the road!
Let’s take a look inside the box.
There is a riddle stitched on the inside top of the box is also placed in a centrally symmetrically balanced position. This was done to give it weight and importance. This riddle gives the viewer the key to the entire box so deserves attention.
“Which creature walks on
four legs in the morning,
two legs in the afternoon,
and three legs in the evening?”
The riddle of the Sphinx is credited as being the oldest known riddle[i] and the answer gives insight into each stage of life. It is stitched in gold threads to highlight its importance and tie it to the geometric on the outside lid of the box. The riddle serves to anchors the piece, and further symbolizes the idea that life itself is a riddle.
I want to share with you the most recent piece to come out of my workroom.
This is the second Secret Garden I have created. The first is a traditional English flower garden that resides in a vintage cigar box on my piano. I don’t know if there will be more gardens in my future but I suspect so.
This garden started as a ‘garage sale find’ my son brought home. As you can see, it has been transformed. I will explain the piece in terms of the design elements of Content, Balance, and Pattern. This is what I would share with you if I were able to walk with you through my Zen Secret Garden.
A Zen garden is a place of peace and contemplation. This garden is designed to help the viewer contemplate the stages of life. Each of the elements used in the design relate to various stages of life’s journey inviting the viewer to reflect on their own travels from birth to death.The inspiration for the top came from Marie Wilkinson’s Chinese Geometrics. The project was a 1980’s era UFO passed along to me from a stitching friend.
For this piece I used several different types of balance to create a unified but interesting piece. A Zen garden should have a feeling of peace and stability so I used symmetrical balance in several places to enhance these qualities. I started building this feeling of stability by using symmetrical balanced hexagons on the outside cover. Silver and gold threads were used to represent old and new friendships that enhance our lives. Each individual hexagon was balanced in terms of both color and stitch. Each is outlined in silver with the patterning in gold and blue. A variegated thread kept things from being too static and served to highlight the many depths we experience in our friendships.
Embroidery can be considered an anonymous art, in that much of the time it is not signed or dated, especially work done before the 17th century. The samplers and other embroideries that have survived the ravages of time allow us a peek into the lives and attitudes of the girls and women who created them – from their perspective. This is one of the main things that samplers do – communicate. Early samplers shared patterns and helped their creators retain the information they had gathered. Later samplers became a way to communicate ownership and information about the world. They helped teach young girls about their place within society. Just as women of the past used their samplers to retain and share information, we continue to do so today. Modern samplers ask us to consider our roles as creators who use embroidery to communicate a message through our work.
In the Bible it says that by our fruits ye shall know us. Our samplers are the fruits of our hands. We have worked into them a message for those around us. We may not have done this intentionally, but the message cannot help but come forth. The women and girls that plied their needles in the past had no intention of sending a message down through the ages to us, yet we take meaning from their surviving works. It will be the same for us. So the question really is: what does our stitchery tell about us? Steven Wang said, “History belongs to those who dare to write it.” I say our stitchery is our history. It is what we leave behind for future generations. We created it and it reflects our reality. Let’s send a clear message to help future generations understand our times – from our perspective.
By the 20th century sampler making had fallen out of favor along with the general practice of needlework. Those who created samplers often did so as an exercise in a particular embroidery technique rather than for basic educational or reference purposes. Samplers remained examples of the needle artist’s proficiency in a particular technique. Modern samplers continued to serve as a practice tool when learning a new skill, and as a way to experiment with different combinations of fiber, stitch and design, but they also became a connection to the past. Many of the samplers currently being stitched are reproductions of 19th century schoolgirl samplers.
Today, needle artists connect with the past through the medium of embroidery, using the same materials, tools, and techniques as their predecessors but in ways that reflect the current realities of modern life. An example of this is the sampler Breakbeats, created by Andrew Salomone in 2009. This is how he explains his work: “It occurred to me that needleworkers used to have to make patterns and images to decorate fabric in the same way that contemporary music producers make beats and musical compositions by repeating and layering audio samples in digital sound editing programs. So the files created using digital editing programs today basically function in the same way that needlework samplers did in the days when all embroidery had to be done by hand.” Andrew’s sampler is more about the ideas than the techniques and is an intriguing way of connecting the past with the present.
During the 17th and 18th centuries samplers continued to evolve, and eventually their primary purpose was to serve as showpieces for the stitcher’s skills. Other changes took place as samplers began to more closely resemble paintings. They became wider and shorter, and contained carefully positioned images that reflected a new concern with design and composition. Pictorial elements, many taken from the Old Testament were becoming increasingly popular. Biblical scenes and historical allegorical images were considered appropriate for young girls to stitch, since they contained images that encouraged good moral behavior. The many portrayals of Adam and Eve that are featured on samplers of this time were used as a way to teach young girls their role in the family and society. This example stitched by Elizabeth Summers in 1808, when she was an 11 year-old child, includes a verse from Genesis. The images and verse were thought to teach the young girls who stitched these samplers the proper relationship between men and women.
The time between 1720 and the early 1830’s was the height of the sampler. This is when the most iconic of the American ‘schoolgirl’ samplers were created. It is this type of sampler that comes to mind when samplers are discussed. Elizabeth’s Adam & Eve sampler is an example of a schoolgirl sampler. Other schoolgirl samplers depicted maps, calendars, lists of government officials, and family genealogies. They were used to teach letters, geography and the practical sewing skills that the girls of this era would need in their future lives. Day schools and Boarding schools that educated girls commonly included several hours each day of needlework as part of their curriculum. These samplers often included an alphabet and basic numbers, along with a morality verse and a picture and sometimes randomly scattered spot motifs that could be used later to decorate household items. These samplers hit all of the marks. They were most often stitched in cross-stitch, with other fancy stitches sometimes included. The complexity of these samplers would depend on the skill level of the embroiderer and her future prospects. A young lady who was of the working class would have been taught plain sewing, while the daughters of the wealthy trained in more ‘fancy’ stitches. Each girl began with the simpler stitches and motifs and then moved on to more complicated techniques, as their needleworking skills improved. By the end of the 19th century, samplers had moved from the workbasket to pride of place on the walls of upscale homes, serving as a showcase for the skills of the daughters and wives of the household. More importantly for historians, it became a common practice for the women and girls to sign and date their work.
Hi – I am Dawn Peschke and I would like to Thank You for stopping by DP Stitchin’. I love to stitch and hope to share my excitement with you.
I started this blog so that I could share some of the cool things I have learned about embroidery and connect with others who share my love for this work – no matter where in the world they are. I know I am not the only one out there who is crazy about stitchin’, so introduce yourselves – I would love to get to know you.
I took a degree in Studio Art with most of my work being done in the areas of Teaching & Textiles, but I also have a strong interest in Art History. I think it is important to understand the role that embroidery in all its various forms, has played throughout history. The work of our sister stitchers* becomes a resource for our own work and connects us to our stitchin’ roots while acting as a window into their worlds.
So, join me on my journey . . . the adventure begins!
*yes, I know there have been guys involved at times, but we both know that stitchin’ is still mostly a gal thing, which is too bad. Gonna have to do somethin’ about that!
Samplers have been around a long time. ‘Sampler’ or ‘exampler’ is from the Latin ‘exemplum’ and the French “essemplaire” meaning: ‘an example, model or pattern to copy’. Early samplers were used as records of pattern and stitch and were valued as a library of sorts by their owners. Over time, samplers began to develop more complexity. They were used as a practical reference, but also passed along skills as a teaching tool. Samplers became testaments to the stitcher’s skills and were believed to build moral character in the young women who stitched them. In modern times, samplers have become treasured as art pieces and as a resource for historians trying to understand the times in which they were created. This multifaceted nature keeps us intrigued to this day
The earliest known sampler was created in Peru. Unsurprisingly it is in pretty bad shape, but considering that it was stitched sometime during the 2nd century, I’d say it looks pretty good!
The Peruvian sampler is a good example of a ‘spot’ sampler, which is a sampler made up of single stitched motifs. Because the stitcher was interested in capturing ideas, rather than in the aesthetics of the finished piece, the motifs were stitched singly with no regard for pattern or composition. It is simply a record of patterns for future use. One thing I love about it is how the motifs reflect the Peruvian culture. There is no mistaking this for an 18th C American schoolgirl sampler! Yet, there are common threads between the two. Each is communicating a message in a unique language but I feel a connection between them. I think that the use of similar materials and methods is a thread that connects us as stitchers, even across the barriers of time and distance. The idea that we can communicate with stitchers from the past is part of the reason that samplers remain a fascinating topic today.