Monthly Archives: October 2008

In loving memory

Joanna Elizabeth Skinner

October 19, 1972 – October 31, 1991

I have been debating all month whether to put this on my blog. I thought… shall I remain known only for my sewing tips, my molas, jewelry, prints and quilts – or shall I include some of me, because I am, after all, more than just an artsy craftsy grandmother living in Panama. I decided to share.

I included quite a few quotations from books I found helpful during that first year. I used them because these authors were able to put into words exactly what I was feeling when my own words just couldn’t be found.

I wrote this letter a year after Joey died. I don’t even remember if I mailed it to anyone.

When your children are alive and well, but not with you, you think about them often, but not all the time. I think about Joey almost all the time. She is my first thought when I awake, and my last thought when I fall asleep, and when I awake at night and can’t sleep, I think of her. During the day I may be distracted for awhile, but not for long. I miss Joey every minute of the day. A month, a year, five years, with that I could live. But not this forever.

But … I have survived the first year of forever, perhaps I can survive another.

At first I was preoccupied with readjusting the details, changing the scenario, imagining that something went differently. Perhaps I would turn the corner, wake up the next morning and it would have all been a horrible nightmare, a mistake. I know better, but it is, even now, so hard to believe.

I used to have nightmares in which one of the children would die, I would wake up in tears with an awful, overwhelming sense of loss. Even though I knew it was only a dream I would always get out of bed and go to the girl’s bedrooms to touch their little faces and stroke their hair – the sense of relief was sublime. As painful as those dreams were, they did not come close to the soul crunching shock of the real thing. Now there is no relief, grief occupies my life out to the edges. But I am gradually becoming accustomed to it’s constant presence. It is no longer a shock or a dreaded specter, it simply exists, like a familiar shadow.

Nothing in life, or indeed in your wildest dreams, can prepare you for the loss of your child. People thoughtlessly say things like “I know how you feel, my grandmother died last year. ” I want to strangle them. Your grandmother lived to be a grandmother, my child died 12 days after her 19th birthday. She will never graduate from college or ever achieve her childhood dream to be a veterinarian. She will never know the special love of a husband and children. She was my pride and joy. All the hopes and dreams I had for her are crushed. I lament all that might have been and now will never be.

From “Lament For a Son” by Nicholas Wolterstorff (with obvious changes in gender).

“There’s a hole in the world now. In the place where she was, there’s now just nothing. A center, like no other, of memory and hope and knowledge and affection which once inhabited this earth is gone. Only a gap remains. A perspective on this world unique in this world which once moved about within this world has been rubbed out. Only a void is left. There’s nobody now who saw just what she saw, knows what she knew, remembers what she remembered, loved what she loved. A person, an irreplaceable person, is gone. Never again will anyone apprehend the world quite the way she did. Never again will anyone inhabit the world quite the way she did. Questions I have can never now get answers. The world is emptier. My daughter is gone. Only a hole remains, a void, a gap, never to be filled.”

” Sometimes I think that happiness is over for me. I look at photos of the past and immediately comes the thought: that’s when we were still happy. But I can still laugh, so I guess that isn’t quite it. Perhaps what’s over is happiness as the fundamental tone of my existence. Now sorrow is that. Sorrow is no longer the islands but the sea.”

What I am struggling with now is “letting go.” That’s what we were trying to come to terms with, even before the accident, when we left Joey behind in North Carolina and moved to Florida. We had never been apart before and it was hard on all of us; she missed us as much as we missed her. But we knew in our hearts that we had to let her go – to grow up, to find her own way, to make her own decisions, to learn from her own mistakes. For 19 years we did our best to prepare her for the day when she would have to “go it alone.”

From “I Will Not Leave You Desolate” by Martha Whitmore Hickman.

“Perhaps as parents must let their adolescent children go, in the faith that they will return under new terms, so we may be able to relinquish our children into death, hoping that in ways we do not foresee they may return to be with us, to bless us with their presence.”

Anne Morrow Lindbergh says in her book Dearly Beloved:

“Grief can’t be shared. Everyone carries it alone, his own burden, his own way.”

She was correct. You cannot lean on each other as you mourn, because you cannot lean on something bent double from it’s own burden. Each must bear his own pain, your mate cannot bear it for you or shield you from it. I have never felt so alone.

I have begun toying with the idea of writing a journal, not for publication but for family and friends. I have read every book I can get my hands on by and about bereaved parents. Some are excellent, some good and some downright terrible. I have highlighted the bits that I like, that echo my own feelings. I thought it would be an interesting and worthwhile project to combine them, along with thoughts of my own, and poems, prayers and quotations I have been collecting.

I am confident that Joey lives on somewhere and in some form “in the life to come.” But she also lives here on earth in our hearts and in our memories. I feel I should leave a written document for those family members yet to be born that will never know Joey. Parts of this letter will be a start.

In all my rambling I haven’t touched on how Joey’s death has changed my view of God and the world, and believe me, it has. I don’t think you can go through any kind of tragedy and not be forced to look inside yourself and reexamine your beliefs. One of my favorite books is “When Bad Things Happen To Good People” by Rabbi Harold Kushner.

Let me quote from the introduction – these are my exact thoughts.

“Like most people I had grown up with an image of God as an all -wise, all-powerful parent figure who would treat us as our earthly parents did, or even better. If we were obedient and deserving, He would reward us. If we got out of line, He would discipline us, reluctantly but firmly. He would protect us from being hurt or from hurting ourselves, and would see to it that we got what we deserved in life. Like most people, I was aware of the human tragedies that darkened the landscape – the young people who died in car crashes, the cheerful, loving people wasted by crippling diseases … But that awareness never drove me to wonder about God’s justice, or to question his fairness. I assumed He knew more about the world than I did.”

Then came that night in the Haywood County Hospital, in Clyde North Carolina, when they told us our beloved child had died. This is not how the world is supposed to work. How could this be happening to us, to Joey, if what I believed about the world was true. Well – after much soul searching thought and lots of reading – I am of the opinion that the world is not as I so naively once believed it to be.

Another quotation, this time from a very good book “When The Worst That Can Happen Already Has – Conquering Life’s Most Difficult Times” by Dennis Wholey. It is a collection of first person testimonials about conquering and benefiting from life’s most difficult times. These are also my sentiments exactly:

“The biggest wall mankind builds is in front of the gate labeled “randomness.” We try to brick it up completely because we cannot stand the thought that adversity might be random, and that cancer of the esophagus or the bowel, or leukemia, or Lou Gehrig’s disease, or bankruptcy, or divorce, or the death of a child or a spouse could happen to almost anybody at any time. We build this great, huge wall in front of that view to block it out, and we decorate it with all kinds of views about the way life works, about God, about divine plans and architects, and anything that disguises from us the possibility that terrible things can happen randomly. This is probably the absolute center of my view of adversity. Yet if I dare suggest that randomness actually makes up it lot of the world, I find it a very unpopular view right now. Even though I’m talking common sense, it’s quite repugnant to a lot of people.” (Robert Buckman, M.D. a medical oncologist)

When people infer that Joey’s death was “God’s will” I cringe. I’ve concluded that people blame God because they need a reason for everything. I cannot believe that hideous tragedies are all a part of a divine universal scheme of reason and meaning. Sometimes there are no reasons. And sometimes people make mistakes. Joey made a mistake – she was driving too fast and for some reason we shall never know – she chose not to wear her seat belt that day.

And finally another quote from my favorite book “When Bad Things Happen To Good People” by Rabbi Harold Kushner.

” … we will simply have to learn to live with it, sustained and comforted by the knowledge that the earthquake and accident, like the murder and the robbery, are not the will of God, but represent that aspect of reality which stands independent of His will, and which angers and saddens God even as it angers and saddens us.”

Off to Chicago tomorrow morning

We’ll be gone a week.

Just checked out the weather forecast – I’m taking my coat. I panicked when the temperature was 85 degrees on October 12th – the day of the Chicago Marathon. I live in the tropics and I am SICK to death of hot humid weather. They even mentioned snow flurries – keep your fingers crossed!

See you next week.

Progress on the angel quilt

I am using the ladder stitch that I learned from Ami Simm’s book Invisible Appliqué. I lent the book to someone and never got it back – but I remember the stitich. I find that it is easier to do than the more common tack stitch – especially with the freezer paper and glue stick appliqué method I use. See my hexagon quilt tutorial for more on this appliqué method.

Portrait of Carmen

This is a photo manipulation done in Photoshop CS2.

My Kuna friends

These are the Kuna women I buy many of my molas from and they are the ones who make the molas that I commission.

This is Carmen de Tejada – she is in cubicle #4 at the Centro de Artesanías Panameñas in Balboa. She is usually there with her husband Samuel who speaks very good Spanish and is a wonderful source of kuna lore and information. I usually end up spending a lot of time talking to him. He would be a good source if I ever decided to write a book about molas.

This is Eladia Herman she is in cubicle # 6. Eladia’s Spanish is pretty rudimentary so I go through Carmen if anything needs to be explained in detail – usually when I am giving them a comission project to sew.

This is Ana Linda Alba, she is Rosa’s sister. Rosa wasn’t there the day I took these pictures. They share the duty of attending to the stall – I never know which one of them will be there when I show up. She is in stall # 5.

Mola blouse

The photos below show the blouse which the kuna women wear – it is called a mola – although the word mola has come to mean the appliquéd panels on the front and back of the blouse.

The fabric the Kuna women use to make the sleeves and bodice is 100% polyester, sometimes shiny satin – and in the most outrageous colors you can imagine. This pink one is quite conservative compared to many I have seen!

I highlighted the sleeves and bodice so you can see how crude the sewing is. And it’s not just this blouse – it seems to be the norm. I wonder how they can spend so much time and effort making the mola panels and then make no effort to sew on the sleeves and bodice properly.

The front of the blouse.

Detail of the bodice.

Detail of the sleeve. Not even a small hem – a ragged raw edge.

Detail of the lower left hand corner. Actually this mess won’t show – the bottom of the mola is tucked into the wrap around skirt – called a saburete.

Changing things around a bit

Looks like I have been REALLY busy blogging today. Three major posts all before 11:00 am!

Not really – I just changed the Mola, Tagua and Jewelry pages to posts. WordPress doesn’t let you put tags on the static “Pages” that appear at the top under the header (About Me, About my Art, My Digital Art Gallery). I’ve noticed that most people visit the post pages – and I am always trying to generate more traffic – maybe this will help.

Tagua

Polished and dyed tagua seeds

What is tagua? Tagua, pronounced “tah-gwa,” and often referred to as “vegetable ivory,” is the seed of several varieties of tropical palms. The tagua palms grow in the shade of other rain forest trees and in open wet areas. When mature, the tagua seeds fall to the forest floor, where they are harvested by hand. Unlike the harvesting of elephant ivory, the palm tree is not harmed in any way. The most common tagua palm in Panama is Phytelephas Seemannii, which produces an exceptionally hard variety of tagua.

Before plastics replaced tagua in the 1930’s, Panama, Colombia, Ecuador and Brazil exported large quantities of tagua to the United States and Europe where it was made into buttons and other small items usually made of animal ivory. In the 1920’s, 20% of all buttons produced in the United States were made of tagua. Small factories in Ecuador still do a thriving business manufacturing buttons for European and Japanese fashion designers.

Pioneered by Selerino Cheucarama, a Wounaan, and one of the best master carvers, the Wounaan have recently extended their carving skills to the tagua seeds; and have created a unique and imaginative art form inspired by the flora and fauna of the rain forest. The Wounaan artisans carve the tagua with hand tools (often just sharpened screwdrivers.) The high gloss finish is obtained by sanding and polishing with fine sandpaper and other abrasive materials.

The Wounaan are master artisans, and are well known for their exceptionally fine quality baskets (called hosig di) and their beautiful cocobolo wood and tagua carvings. In addition to creating objects for sale, skilled wood carving has many traditional uses in the Wounaan culture, including making hunting weapons, canoe paddles, household furnishings, and ceremonial objects.

See a selection of tagua carvings in my flickr gallery.

More about molas

For years I have collected molas – the wonderful reverse appliqué blouses of the Kuna women. I have large storage boxes filled with them – I can’t stop buying the ones that “speak” to me – because of their color – design – and fine needlework. I always have the nagging feeling that some day this beautiful art form will be lost – so I buy another one! Increasingly I see young Kuna girls in jeans and T-shirts – if they are refusing to wear the traditional dress of their people – surely they aren’t learning to make molas.

A mola is actually an article of used clothing! The Kuna woman makes a pair of molas, one for the front of the blouse and another similar or nearly identical one for the back. When she tires of the designs, outgrows the blouse, or maybe she just needs the money, she will take the blouse apart and sell the panels.

Just like our clothing, molas come in many different sizes. A large mola was made by a plump Kuna woman, a smaller one by a slender woman and a tiny one for a child. If a woman gains weight she can easily add a fabric gusset on the sides of her blouse without having to make a new one right away.

Molitas are regular appliqué panels often, but not always, heavily embellished with colorful embroidery. The subject matter is usually birds or sea life, but can be almost anything. They are available in sizes ranging from a few inches square to very large wall hanging size panels. Molitas are very attractive folk art needlework, but they are not real molas.

On flickr I have a gallery of geometric molitas, bird molitas and flower molitas.

Molas are what the Kuna women wear – they never – ever – wear the appliquéd birds and fish panels – they make those only to sell to the tourists. And – as I see it – that is becoming a problem. In the cubicles – where they display their molas for sale – I see the appliqués slowly but surely taking over the traditional mola. I am not sure why – I think maybe they perceive that is what the tourist wants – or maybe it is so much easier and faster to produce. Whatever the reason is – I am on a personal campaign to try and change the trend – or the traditional mola will eventually be lost. We will only be able to buy a genuine mola when the maker gets tired of her blouse and decides to put it up for sale!

I have a larger collection of photos of traditional molas on flickr.

One of my favorite projects was “William Morris Meets the Kunas.” Click on the link and you will see the whole collection on flickr.

For those who don’t know – William Morris was a Victorian artist and a pivotal figure in the Arts and Crafts Movement. He is famous today for his wonderfully organic wall paper designs using elegant and subtle color combinations.

I have a large collection of William Morris reproduction fabrics and I had the Kuna needle workers stitch a series of traditional geometric designs on a two color panel – 8”x8” – suitable for quilt blocks – throw pillow covers – or any number of other projects. The printed fabric is underneath and the top fabric is a neutral taupe color – both 100% cotton.

The very early molas were only two colors and often the base color was a print – so this isn’t a modern invention of mine – it is really just getting back to basics

Much has been written about the Kuna and thier molas, two excellent books are:

The Art of Being Kuna: Layers of Meaning Among the Kuna of Panama by Marilyn Salvador

Magnificent Molas: The Art of the Kuna Indians by Michel Perrin

Jewelry

One of my many creative outlets is making beaded jewelry, mainly necklaces. I went off on a tangent with the digital art thing and I didn’t make anything for the past year.

Here are a few necklaces I have sold or given away as gifts. I haven’t been very good at cataloging my creations. Some just flew off the work bench before I got a chance to photograph them. I really regret that I don’t have a visual record of all of them.

All of the pendants are tagua, some are natural ivory color and others are painted.

This is the only one I have left – it is in my personal collection. I will never sell it – it is a particularly beautiful tagua of a tamandua.

My signature jewelry design is the multi strand necklace – from as little as 3 strands up to 18 or more. I design each strand individually and no two are alike. I start with a color palette of semiprecious stones, stone chips, glass shapes, pearls, seed beads, metallic beads, ceramic beads – amber – bone – anything I can get my hands on (with a hole in it for stringing) that has the color I need. Color is my passion – my inspiration.

I usually have at least 15 – 20 or more “ingredients” on my workbench when I start a necklace. My beads are arranged by color family. If I am going to work on a necklace in a palette of golden browns – I have shelves of beads to choose from. Once I have decided on the color spectrum – I begin to string. Each strand has to be able to stand alone – and all of them need to work together to form the multi strand necklace.

I strive for a harmonious balance of opaque – transparent – matte – shiny – big – small – round – square – rough – smooth – etc. – etc. I don’t pay much attention to the intrinsic value of the individual beads – I may have a rustic handmade ceramic bead next to a large baroque pearl – with an inexpensive seed bead separating them. If the design – color – shape – balance – etc. works then I will include it.

I enjoy the creating – the doing – I don’t focus on the end result – the necklace sort of grows organically. I never start out to make a “12 strand necklace” – I just keep adding strands until it looks and feels right to me. Sometimes a strand doesn’t seem to fit in and I will put it aside – maybe for inclusion in another necklace.

Panama has been my home for over fifty years. I have a genuine respect and appreciation for the handicrafts of Panama’s native artisans. Some time ago I started collecting beautiful hand carved tagua pendants and I have developed a popular line of necklaces with the tagua pendants as the focal point. I prefer to use the elegant natural ivory color of the unpainted tagua, although I do use the brightly painted taguas in my “wild and colorful” tropical designs. My favorite subjects are geckos, iguanas and frogs, although I also use many other tropical animals found in Panama.

I buy – almost exclusively – the work of a small group of Wounaan artisans whom I consider to be the best. They have recently formed a group called “Mundo de Arte Wounaan” and I have advised them on how to market their taguas to the outside world. I designed their logo, business cards and hang tags and reworked the English text for their brochure. I have also taught workshops on how to design and make basic single strand necklaces using their tagua pendants and the brightly colored tagua beads they import from Ecuador.

Sometimes I will commission a special piece – but I usually just buy the pendants “off the shelf” when I see a piece that I like. To pass my rigorous inspection the tagua has to be – first and foremost – well designed. Then I look at how it is going to hang as a pendant – sometimes it takes quite a bit of engineering to make it hang gracefully. Finally – If it is to be left the natural ivory – it must be very well finished and polished and the natural brownish grey center of the nut – if it is seen at all – must be well hidden. If painted – the painting must be well executed and realistic looking with lots of tiny details.