Susan McCraw
 
 

 
 
 
 

 
 
Fabric Collage
 
 
 
   
 
 
 
Calligraffiti quilt
 
Words of the Prophets (Simon and Garfunkel) quilt

 “Calligraffiti
2004
34” W x 45” H
$800

Calligraphic decorations in Far Eastern and Islamic traditions, and figures on rugs of the Ersari tribe of Central Asia, suggested  the curved, rhythmic motifs of this piece.

“Calligraffiti II”
2003
50.75” W x 40.5” H
NFS

In Paul Simon’s song of the Seventies, “The Sounds of Silence,” the “words of the prophets are written on the subway walls and tenement halls,” as graffiti.  The motifs here are from the same source as “Calligraffiti.”

     
Regalia quilt
 
Razzle Dazzle quilt

“Regalia”
2003
24.5” W x 45” H
NFS

Inspired by a Moroccan tribal rug design, African ceremonial shields, leopard skins and Tibetan prayer flags.

“Razzle Dazzle
2003
37” W x 29” H
Sold

Bright zigzag “eye dazzler” designs appear in weavings from cultures as far apart as Turkey and the American Southwest.  Here, I combined the lightning flashes with medallions I admired in carpets from Iran andTurkey.

     
Vessel quilt
 
Ancient Icons quilt

“Vessel”
2002
28.5” W x 36” H
Sold

The figure in the center of this piece refers to customary representations of female forms in antique ethnic weavings from Turkey and Iran.  It can be read as a woman or as a jar.  I placed it against a checkerboard background design like that of some of the “gabbeh” carpets that Iranian tribes make for use in their houses or tents.

 “Ancient Icons”
2000
56” W x 40.5” H
NFS

Inspired in part by a twentieth century saddlebag woven in the south    Caucasus, and in part by pre-Columbian weavings from Peru.

     
Karabagh quilt
Glory quilt

“Karabagh”
2000
67” W x 48” H
NFS

The motif is a variant of the “tree of life” or “stupa” of traditional Buddhist art, as sometimes seen in weavings from all over the carpet-producing regions of the Middle East and Central Asia.

Glory
1999
61” W x 47” H
NFS

A Tibetan carpet with endless repeats of the “tree of life” inspired this work.  I distorted the design to follow curved vertical lines rather than the straight columns of the original, and I substituted a palette of many colors for the Tibetans’  muted earth tones.

 
 
 
   
 
 

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