Continuing...

...with the quilts made from the original inspiration of  Scully's paintings.  I rarely ever mark a stitch line, but I made an exception for this piece.

You can just see the marks, here, made using a Conte pencil that happened to be the right colour.  I wanted flowing, unstilted lines, and felt that drawing them, first, would make them easier to stitch.  I was right, as it happened.  Plus, any kind of drawing is good for one. So, I stitched.

And yes, it was fine, but it didn't feel right.  I didn't really want to add more stitch, though I did contemplate whipping the existing running stitch, to get a harder line.  Somehow, though, that didn't seem right.  I liked the feeling of space that the relatively limited stitch was giving, but I couldn't see a story, a meaning behind the piece.  Until I turned it over.

And somehow, it made more sense.  That seemed to suggest a real flow, from the top of the quilt, down to the bottom.  It felt like a white river, somehow.  Positioning it in this way felt somewhat counter intuitive.  It is constructed the way you would expect a landscape would be; top level, one third, bottom level, two thirds, giving a 'horizon line'. Turning it over reverses that ratio, and it feels a bit odd.  I think, though, that the flow of movement through the quilt stops the viewer seeing the piece as a landscape, and I think in part it was that line, that construction, that was getting in the way of seeing the meaning.  So this is how it will stay... it's called 'Outpouring'.