I am happy to say that the illustrations for MY BED are finished and ready to go to the publisher, Houghton Mifflin Harcourt! Please also know that I’m not finished sharing posts about the process of making the artwork. Until the book is released in the fall of 2020, I will periodically show details of more scenes and animals.
The project has been a slow and steady 3 year marathon and I haven’t yet adjusted to the idea that it’s really done. Hand stitching is slow and methodical and that’s probably why I’m attached to the process. It forces you to slow down and figure things out as you go, one stitch at a time. That’s where innovation happens and happy surprises show up. I need time to translate what’s in my imagination into something real. Simply put, machines can’t do what I do; their stitches are too regular and they can’t get into the little nooks and crannies. People comment on my perfect stitches, but that isn’t what I’m after. Yes, it’s all neat and tidy, but I know there’s a subtle imperfection that only the human hand can make.
When I began working on the book, I thought my artistic path for the next couple of years was clear. That sense of security was interrupted by the 2016 election. I quickly shifted gears, feeling a pressing need to do and say something about what is happening in our country. I told my editor that the book would have to wait. For 1 1/2 years I was totally immersed in making cartoons and the stop-motion animated film, Liberty and Justice. When the film was finished, I resumed work on MY BED and stitched my little heart out to meet the extended deadline. I’m very pleased with how the book illustrations turned out and think that my detour into real world issues has only made my work stronger, even in a sweet and comforting book like this.
The project is ready to move into its next phase, when lot’s of people will work to make MY BED into a hard cover printed book; photography, editing, book design, printing, marketing, etc. Making a high quality picture book is a long and involved process.
It’s also time to shift gears and clean up 3 years worth of clutter, grime and stray threads in my studio. Oh, I’ve vacuumed occasionally, but the place looks like it’s overgrown with piles of misc. fabric, dusty thread balls and “interesting things” that just might make their way into a piece. Once, I gave a talk where I described what happens to my work space during a years-long project, how it’s like sitting in the middle of a tangled nest, with a narrow path in and out. I’m sure that I exaggerated for effect, which triggered a question from a man in the audience, who wanted to know what my husband thought of all the mess. I answered that it didn’t seem to bother him and that I’d never asked him what he thought about it. — I feel lucky to have a place of my own, where I can freely mess around, with no one looking over my shoulder in judgement.
After the original illustrations are photographed and returned, I will add borders made of upholstery fabric. These are not for the book, but will be part of their 2nd life as a framed piece of art. Each one will have a unique border that compliments the colors in the scene. I had to make the borders now, while I could match the colors, because after the illustrations are delivered to the publisher, it will be months and months before I see them again.
After the original art comes back home, I’ll scramble to get everything ready for a touring exhibit, which premieres at the Cahoon Museum in the fall of 2020. Like in the past, Rob will help by making his wonderful shadowbox frames. He’s also putting together a video to accompany the exhibit, which documents my working process. The first year (2021) is booked, with availability beginning in 2022. Inquiries from museums are welcome – Please contact me for information about hosting “Salley Mavor: Bedtime Stitches.”
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