I rejoiced this week when I finished binding my seemingly endless needle felted wool hand stitching project, now called “Every Which Way.” My stitching in Florida (I made myself sew down 2 squares a day) brought it to the point I could fuse it to felt and quilt it.
Since the wool backing never got felt-like despite several go rounds in the washer and dryer, I used the polyester felt to stabilize the piece. The machine quilting is minimal, just enough to further secure the two layers. That’s right, two layers, so this will never qualify for a traditional quilt show judging.
The project began as a way to use up wool roving leftover from a wet felting class. A friend who took the class with me kindly gave me her leftovers so I had lots to work with. The wool felt squares came from another friend who works with lovely hand dyed wool. The binding has been in my leftovers tub awaiting use.
I ended up with a few “nonconformist” squares that may wind up in another project someday.
Here are some closeups that show off my nine year old level buttonhole stitching.
I am pleased to have my multi-year handwork project completed, and I truly hope I never make the mistake of starting another.
I’m linking to Off The Wall Friday.
The Snarky Quilter 
Check the rules in any show you’re interested in. This may well qualify as a art quilt, and the rules are very different there. Usually there aren’t any. However, could you also call your interfacing a layer?
Yes, I’ve found art quilt shows are more flexible in their definitions. I believe SAQA calls for at least 2 layers held together by thread or something. However, I don’t see this as an art quilt, but rather a variation of a folk type quilt. It is original, but is made up of blocks.
I really love the ‘non conformist’ squares. I’m sure we’ll see them in a project in the future. Too much handwork to waste.
Indeed, I can’t let them go to waste.
Fun piece! IMO every not perfect (child level) stitch makes it better. I was reminded that years ago, a quilt was showing (I think it may have been at VMOTA). It was made of sheer organza front and back and small single branch pieces were sewn/enclosed in between the front and back as the batting. The quilt entry had to be made of three layers and technically it was. There was much controversy around that piece. I have been trying to find a photo of it. Have you ever seen or heard of it?
That controversy has escaped me. I find that art quilt shows are more forgiving and flexible about such rules. have had run-ins with traditional quilt show judges about those rules, and won’t subject my work to their scrutiny again.
I remember that piece, Ann, and thinking that it was a very interesting (and loose) interpretation of the rules!
Rebecca L, would you happen to remember where you saw that piece (live or in print)? Thank you.
Ann, I’m sorry, but I didn’t see this until now.
It was in a Visions biennial; I do believe when it was at the Oceanside Musuem of Art.
Rebecca L, you are correct! I remember going up there now. Thank you.
Joanna, I totally love the “oddballs.” I trust you and they will find their forever home when the time is right. I do understand your “not again” feeling. I learn with every project. Sometimes one of the most important things I learn is that once is definitely enough for some techniques!
Handstitching and I have always had an uneasy relationship. I keep trying it in hopes that it will click, but that hasn’t yet happened. And my oddballs will go into the orphanage.
Your finished piece is lovely. Until you showed the closeups I didn’t see the wool roving. Just figured it was printed fabric and embroidery.
Then I’m glad I included the closeups. It certainly shows that you can’t judge a quilt by its photo.