Kinchaku Series III was designed to meet the call put forth by the SAQA Oregon Regional Conference for Three-dimensional quilted artwork. I wanted to create a series of kinchaku that included more layers than my previous two series to meet the constraints of SAQA’s definition of an art quilt.
As I thought about my design, I realized I really wanted to try out two techniques. First, I wanted to include a third layer that harken back to the early Japanese practice of using sashiko to patch clothing.
Second, I wanted to try the same crazy patch technique I used in my American Village I and American Village II for a significant portion of each bag. My aim was to invoke a hint of the humble beginnings from which Sashiko arose while connecting the more affluent beginnings of the kinchaku tradition to my modern work.
I used hand and machine techniques for this series. I included a little of the fabrics I used in Kinchaku Series I and Kinchaku Series II for the outer fabrics but used all new selections for a majority of each bag. The lining fabric is different than my first two series, but the choice I made was aimed toward the same playful vibe I wanted in those kinchaku. The rounded green patches are attached solely using sashiko, just as they would have been centuries ago by Japanese farmers an fishers.
All of the fabrics in this series are cottons. The green sashiko patches and the ends to the drawstring are hand-dyed cottons I received as a gift from a friend after I helped her with childcare for her first born son while she finished her dissertation more than a decade ago. The drawstrings are satin rattail and the sashiko thread is Japanese.
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