Bedtime Stitches exhibition opens in Illinois

I am delighted to announce that the Bedtime Stitches touring exhibition is opening today at the Cedarhurst Center for the Arts in Mt. Vernon, IL, which is in the southern part of the state. This is an opportunity for those of you in the middle of the country to see the original bas-relief embroidered artwork for my picture book MY BED. UPDATE: The exhibition has been extended to August, 2021 (closing date TBA). I’ve already heard from fans who will be driving from Chicago, St. Louis and Nashville to see the show. Others from further away are planning overnight visits. I wish I could be there to greet you all, but my artwork will have to stand in my place.

Whenever I post announcements about the exhibition, I hear from folks who want the exhibition to come to places near where they live. I would love to be able to point to locations on a map and have them magically appear on the schedule, but that requires enlisting venues to partner with. So far, Bedtime Stitches is booked at locations in eastern, western, northern and southern parts of the country through mid 2023. The current schedule is at the end of this post.

So, will more locations be added? I’m open to extending the tour, if there is an interest. To make that happen I need your help. Over the past few years, I’ve contacted just about every quilt and textile related venue I could find, as well as other art museums. For whatever reason, sending proposals hasn’t worked. What has worked are personal contacts and extra motivated fans. Several bookings are at places that have shown my work before and a few came about as the result of fans telling their local museums about the opportunity to host the show. So, if you would like to see the exhibit come closer to your doorstep, I encourage you reach out to museums in your area. They are more apt to respond to an enthusiastic member of their community than to some random stitching lady they’ve never heard of before. Past experience has taught me that as more people experience the book and exhibition, the word spreads and new opportunities will arise. Interested museums are welcome to contact me for information about hosting the exhibit.

The staff at the Cedarhurst Center for the Arts put together this Eye Spy game for their visitors. It could also be fun for those looking through the pages of the MY BED book at home. You can download it here:

SALLEY MAVOR: Bedtime Stitches
Feb. 28 – May 2, 2021, Cedarhurst Center for the Arts, Mount Vernon, IL
Sept. 14 – Dec. 31, 2021, New England Quilt Museum, Lowell, MA
Jan. 22 – May 8, 2022, Upcountry History Museum, Greenville, SC
June – September 2022, Brick Store Museum, Kennebunk, ME
Oct. – Dec., 2022, Historical and Cultural Center of Clay County, Moorhead, MN
Feb. 1 – Apr. 30, 2023, Pacific Northwest Quilt & Fiber Arts Museum, La Conner, WA
Additional locations will be added when they are confirmed.

Autographed copies of the book, MY BED are available in my shop here.

Watch MAKING MY BED, an 8 minute documentary film about how Salley Mavor created the illustrations for MY BED on YouTube.

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Bedtime Stitches at the Cahoon Museum

Cahoon Museum of American Art, Cotuit, MA

For the past month, things have been very busy around here, with the publication of my new picture book, MY BED and the debut of the touring exhibition, Salley Mavor: Bedtime Stitches at the Cahoon Museum of American Art in Cotuit, MA (through Dec. 19, 2020). To plan your visit and register for timed entry, go here. For those of you who live too far to visit, do not fret! The museum has put much of the exhibition on their website here. You can also scroll through this post and see many, many pictures of the show.

Currently, the Bedtime Stitches exhibition is booked at 7 museums through May 2023 and more could be added. I wish I could wave a magic and send it all over the country, but I’m limited by how many years I want to keep the collection in circulation, as well as reliant on the interest and financial support of museums and curators. If you want the show to travel close to where you live, please talk it up with a museum in your area. Enthusiasm from local members of the community can make a difference. That’s how a few of the locations already on the tour heard about the opportunity. Museums are welcome to contact me for information about hosting the exhibit. To find out about the book and see the tour schedule, please go here.

Sarah Jonson – Director and Curator

Bedtime Stitches has been years in the planning and I feel so fortunate to have had the support and encouragement of the Cahoon Museum along the way. When the pandemic caused it’s closing earlier this year and the museum had to cancel its major summer exhibition, they remained committed to my show this fall, even lengthening its duration. I’m impressed by the staff’s professionalism, dedication and resourcefulness in carrying out the museum’s mission which states that it “celebrates American art in ways that expand knowledge, enrich the spirit, and engage the heart.” Museum Director Sarah Johnson was even able to secure the sponsorship of the Coby Foundation, which funds projects in the textile and needle arts field!

Annie Dean – Special Projects Consultant

Because of Special Project Consultant Annie Dean’s careful planning, we were able to get the show installed without a hitch. Michelle Law was brought in to hang the artwork and wall panels and expertly apply the title decals, which can be tricky to do.

Michelle Law – Art installation specialist

Since Bedtime Stitches opened a few weeks ago, I’ve heard from many locals who’ve been to see the show. Thank you for going! For everybody who lives too far, I’ve posted several slide shows with photos of the gallery, the artwork and the wall panels.

Slide Show of the main gallery at the Cahoon Museum:

MY BED original artwork
The touring exhibition features all 18 original bas-relief embroidered illustrations for my picture book, MY BED. The pieces are presented behind glass in cherry wood shadow box frames that my husband Rob made this past summer.

The scenes I made for the book have 2 lives:
1. As Illustrations: The original embroidered pieces were photographed and reproduced in the book, MY BED.
2. As Framed Artwork: I added fabric borders, signed and dated each piece and put them in frames.Then they were ready to be hung on the wall and exhibited, so that people could experience the detail and 3-dimensional quality of the “real thing”.

I am glad to be able to share my work in both printed and original form, so that it’s accessible to a variety of audiences, young and old, from near and far.

Slide Show of finished pieces with borders:

Wall Panels
This slide show includes an Introduction, Bio and a series of mounted boards that describe in words and pictures how I approached illustrating My Bed, from the initial sketches to the many stages of creating the 3-dimensional scenes that are reproduced in the book. The series of panels highlights different aspects of my working methods and gives glimpses into my thought process as I made choices along the way.

Only at the Cahoon Museum
In addition to showing the original artwork for MY BED and the information panels that comprise the Bedtime Stitches touring exhibition, the Cahoon Museum has devoted space in the gallery to displaying rarely seen items from my studio. To give a historical context to the development of my art, they wanted to show work from my childhood to my art school days to the present day. Included are my doll house, fairy houses, self portrait and other 3-dimensional figures and scenes which you can see in this slide show:

You can also see my mini tributes to the late Supreme Court Justice Ruth Bader Ginsburg (See how I made Ruth here.) and Climate Change activist Greta Thunberg (See how I made Greta here.)

The 40 page picture book, MY BED: Enchanting Ways to Fall Asleep around the World is published by Houghton Mifflin Harcourt, ISBN 978-0-544-94906-5. It is available through booksellers everywhere. Autographed copies are sold at Eight Cousins Books, the Cahoon Museum and my Etsy Shop.

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just a few more weeks

Once Upon a Stitch, my retrospective exhibition of original embroidered picture book art will be at the Cape Cod Museum of Art for a few more weeks, until Sunday, January 26th. So, if you’ve been thinking about going to see it, act quickly. It’s been wonderful to have a place to send people, although it is limited to those who can make it to our beautiful peninsula.

For those of you from far away, here’s a brief video tour of the gallery.

A brief tour of “Salley Mavor: Once Upon a Stitch” at Cape Cod Museum of Art in Dennis MA

There’s also a scavenger hunt with lots of cards made up of different close-up details to find in the framed artwork.

Images in the scavenger hunt

Last Saturday, I talked about my work to a very nice group who nestled themselves into the gallery. After being introduced by Benton Jones, the museum’s Director of Art, I shared stories about growing up in a household where making things was as routine as brushing one’s teeth.

This was different that my usual slide presentation, in that I just talked off the cuff, making it more like a Show & Tell. I brought some things to show like my first book (mixed media, of course) which I made at around age 8. People often ask when I started making the kind of art I do. I have to say that I’ve been on this path my whole life. Manipulating materials in my hands has always been more satisfying that just drawing or painting. As a child, I felt that crayons were not enough and that my pictures weren’t finished until something real was glued, stapled or sewn to it.

My first book from about age 8

Most of the audience were women who share a love of stitching and sewing. There are a lot of us out there and we tend to gravitate toward each other. It was a pleasure to meet and share my work with such kindred spirits!

SALLEY MAVOR: Once Upon a Stitch
Dec. 12, 2019 – Jan. 26, 2020

Cape Cod Museum of Art, Dennis, MA
Winter hours: Thursday 10am – 7pm,
Friday – Saturday 10 – 4, Sunday 12 – 4

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“More is more”

My retrospective exhibition of original picture book art, Once Upon a Stitch has been at the Cape Cod Museum of Art in Dennis, MA. for 2 weeks now and I’m happy to hear that lots of visitors are specifically coming to see it. If you’re thinking of making the trip, please note that the museum’s winter hours are Thursday 10 am – 7 pm, Friday – Saturday 10 am – 4 pm, Sunday 12 noon – 4 pm. The show runs until January 26 and I’ll be giving a Family Gallery Talk on Saturday January 4th, 1:00 – 2:00 pm.

It took 2 trips in my Subaru Outback to transport the more than 50 bubble wrapped frames to the museum. That doesn’t count the dozens of wee folk characters I brought along to set up in a display case. At first, the curator was skeptical that everything would fit, but after explaining how I envisioned the layout, with clusters of double hung frames, he relaxed. The museum’s very able crew ended up filling the gallery walls with what could be a record number of pieces!. After everything was hung, my husband Rob looked around and said, “You must understand, with Salley’s art, more is more.”

The first thing you see when entering the gallery is a grid full of of prints showing enlarged animal faces and other characters staring at you. They are blown up details from pieces in the exhibition, which includes a wide selection of original hand-stitched children’s book illustrations I’ve made over the past 300 years. Oh, I mean 30 years!

I set up the figures from my how-to book, Felt Wee Folk: New Adventures on and around a Dala horse and cart elevated on top of 2 wooden cigar boxes.

Four original illustrations from Mary Had a Little Lamb are on loan from collectors. It’s the largest reunion they’ve had since the book was published in 1995.

Most of my books are represented in the show, with groupings of pieces from either my own collection or ones that are borrowed from their owners.

A rather plain concrete pole in the middle of the gallery called out for some kind of embellishment, so, I lace-bombed it with doilies. To make it, I cut a length of green felt to the right circumference and machine stitched lace and doilies to it. I pinned the seam and stitched it in place on site. Like a lot of textile geeks, I have a collection of misc. old lacy things and it feels good to finally use them for something.

The opening was well attended by many people who knew of my work, as well as others who were seeing it for the first time. I got to watch people’s reactions to seeing the originals, which is a totally different experience than looking at the pages of a printed book. I can honestly say that without exception, everyone was smiling. In the photo below, a man is telling me that he just came from visiting New York and that my show was more impressive than anything he saw at MoMA. As you can see, I was flabbergasted!

There’s a scavenger hunt with about 20 cards, each one showing 4 different close-up images that you can look for in the artwork. This game is certainly not just for children!

The exhibition is an opportunity to see the detail and 3-dimensional quality of my work.

I was happy that my friend and picture book collaborator, Judy Richardson came to the opening. Here we are in 1991, having our publicity photo taken with Bella the elephant at the Barnstable County Fair.

And that’s Judy and her husband Phil at the show, looking at the originals from “The Way Home“, which she wrote and I illustrated.

I hope that many of you can make the trip down the quaint and historic Old King’s Highway (Rt. 6A) to Dennis, Massachusetts to see the show!

Dec. 12, 2019 – Jan. 26, 2020
Cape Cod Museum of Art, Dennis, MA
Winter hours: Thursday 10am – 7pm,
Friday – Saturday 10 – 4, Sunday 12 – 4
Family Gallery Talk with Salley Mavor –
Saturday January 4th, 1:00 – 2:00 pm

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Once Upon a Stitch exhibition



You are invited to come see an exhibition of my artwork at the Cape Cod Museum of Art in Dennis, MA. This is a chance to take in the fine detail and 3-dimensional quality of my original sculptural embroideries that are reproduced in children’s books.

SALLEY MAVOR – Once Upon a Stitch
Cape Cod Museum of Art
December 12, 2019 – January 26, 2020

Winter hours: Thursday 10am – 7pm, Friday – Saturday 10 – 4, Sunday 12 – 4

Family Gallery Talk – Saturday, Jan. 4th, 1:00 – 2:00 pm

A wide array of picture book illustrations spanning 2 decades of my career will be on display, including favorites from The Way Home (1991), Mary Had a Little Lamb (1995) and the award-winning, Pocketful of Posies(2010). Several pieces are on loan from private collections, making this an opportunity to see work that is rarely shown in public. The exhibition and accompanying scavenger hunt are sure to appeal to families and anyone with a penchant for miniatures and/or needlework.


I’ve been preparing for the show all Fall, gathering enough pieces to represent every book I’ve published from 1991. That meant contacting people who’ve bought original artwork, some as far back as the 90’s. I’m grateful for their willingness to loan their pieces for the duration of the show. While they were in my studio, I cleaned up the glass and frames, so they will be sparkling clean. Also, Rob took some digital photographs of the art, including detail shots really close-up.

Once Upon a Stitch Scavenger Hunt

I’m using the photos for the scavenger hunt and large printed images, which will be hung in the gallery along with my embroidered originals. I just love playing with scale!

Large format prints of details from my books.

An advantage of taking high resolution close-ups is that the photo quality isn’t lost when they are blown up big. I’ve been asked if these large prints are for sale. Unfortunately because of contractual agreements with publishers, I cannot sell reproductions of these images. But, I can use them to compliment and expand exhibitions!

I hope that those of you in the area will make it down Old King’s Highway (route 6A) to the Cape Cod Museum of Art to see the show!

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finding my voice

On April 13th, I had the pleasure of speaking about my work to an audience at the Cotuit Center for the Arts. I’ve given many talks, but this one was different. The arch of the story has shifted from a straight forward account of my development as an artist to one of personal transformation. Sure, I still gave a glimpse at my process and showed early work, but this time it was presented as a journey of discovery, with twists and turns that guided me to a place where I’m ready to take risks and be more outspoken with my art. I talked about how I found my voice and described what it’s like to go from the land of innocence into the real world. Not too long ago, it seemed like all anyone could talk about were my techniques and workmanship, but now people are commenting on the content, which is what I’ve always wanted. The audience was wonderful – they even laughed at my jokes! People who were there described the presentation as enjoyable and inspirational, with just the right amount of edge to keep things interesting.

My talk was not videotaped, but Rob and I are thinking about putting together a encapsulated version to share. As always, the challenge is to find the time to do it. Until then, I thought I’d offer the following excerpt of my opening remarks and a few slides from the beginning and end of my presentation. In my introduction, I refer to my exhibit, Liberty and Justice: The Sweet to Satirical Art of Salley Mavor, which just came to a close. I’m excited to say that a select group of pieces from the show, including the film and display case full of characters and movie props will be going to the Brick Store Museum in Kennebunk, ME for The Art of Cute exhibit (May 1 – Aug. 31, 2019). Two other pieces of mine, Displaced and Cover Up will also be shown. The large exhibition, which is curated by the Illustration Institute, takes a serious look at a powerful aesthetic that is often not taken seriously. From the little bit I’ve seen, it promises to be one of the most unusual art exhibitions you are likely to see this year. I hope to meet some of you at the opening reception on Friday, May 10, 5 – 8 PM.

Opening remarks before “Once Upon a Thread” by Salley Mavor
April 13, 2019 at the Cotuit Center for the Arts.

Before launching into my slide presentation, I’d like to share some thoughts about the Liberty and Justice exhibit that’s upstairs. Truth be told, I hate talking about politics. At a dinner party, I’m the silent one, watching and listening to the sometimes heated debate swirling around me. But when political forces invaded my safe little existence, I felt compelled to act. In the first days after the 2016 election, I knew that it wouldn’t be long before artists, writers, comedians, playwrights, filmmakers and musicians began using stories, irony and metaphor to help America and the world cope with what is happening. I think that all sides can agree that we’re in deep doo doo. My art may not help make sense of it, or offer solutions, but it exposes the elephant in the room.

2 years ago, when I posted scenes from the Wee Folk Players series on my blog and Facebook, there was a lot of reaction, both positive and negative. One person was so mad that I was making fun of the president, they threw my books in the recycling. Another told me that I’d ruined her hobby. My favorite was from someone who said I was not qualified to have a political opinion. But for every criticism, came many, many more saying things like, “You go, girl!” and “You made me laugh so hard, I peed in my pants.”

My fans have come to rely on my art as a safe haven from the viciousness of the world. I don’t blame them for wanting to stay in the land of innocence. My dolls may be revealing a darker political reality, but you’ve got to admit, they’re still adorable. I just don’t do ugly or grotesque. For me, it’s about finding the sweet spot, even in the scary places we don’t want to go.

People wonder how I can speak out this way, considering the potential for backlash. I can take a risk, because at this stage in my life, I don’t need the approval of others in the same way that I used to, nor am I invested in a certain outcome. I realize that this is a luxury that many people do not have. And that adds to my sense of urgency. I feel a responsibility to document and reflect what I see happening around us and to bear witness, like artists have always done.

I’ve learned that my art helps people process what is going on at a deep and emotional level. What started as my own outlet for managing the barrage of news, has turned into a way for others to experience their own catharsis. Someone recently wrote to tell me, that after seeing this show, she burst into tears, realizing that my art helped her deal with her distress and dismay over the state of the country. She said that she felt uplifted for the first time in three years. When I hear this kind of reaction, I know it’s been worth it.

Having my work deemed too divisive and labeled as controversial has led to a chain of events that brought it to the attention of many more people. The episode has opened up conversations within our community about the purpose of art, which isn’t exactly an everyday topic of discussion. And I can’t help thinking that it has revealed an undercurrent of fear that we all have. Fear of upsetting people, fear of other points of view, fear of losing a way of life and most of all, fear of what is happening to our country. This experience has taught me that art can be a powerful way to face fear. It can be seductive, unsettling, stunning and confronting, which spark conversations about what it means to be living in this beautiful and terrifying world.

I have worked hard to get to where I am and this latest chapter is the strongest and most satisfying so far. Stretching myself artistically makes me realize that I am not what I thought I was. I am transformed, and everything I make from now on, whether it’s political or not, will be influenced in some way, by this adventure into forbidden territory.

What I make and how I do it didn’t just come out of the blue. It’s been a slow and steady process, from early childhood to today. I come from a long line of quiet, but determined people. My late parents, Mary and Jim Mavor were my role models. They created an environment where art mattered, a lot. It was not an extra. Dancing, playing music and making art was our family’s way of feeling human and connected to our Woods Hole community. My mother was an artist and business woman who left me with the belief that making art is the reason to get up in the morning. My father was an engineer with a visionary streak, who followed his ideas, no matter how esoteric. I am grateful to my family, including my husband Rob, for helping clear a path and never standing in the way, as I pursue my passion.

Before I continue, I want to squelch a rumor. Some people have been overheard saying that I must use a sewing machine. That is not true. OK, I use one to make clothes and pot holders and that kind of thing, but my artwork is all stitched by hand. Period. Even in this day and age, machines just can’t do what I do. Now that that’s cleared up, let’s move on to “Once Upon a Thread.”

At this point, I spent 45 minutes going through my whole life up until now with photos and commentary, showing work and talking about the experiences that helped form who I am as an artist.

In the section about making our animated film, I showed the following time lapse.

With the slide below projected on the screen I said, “I will end by showing you what my work table looks like now. You can be assured that its surface will never be completely clear of thread. At a time when most of my friends are retiring, I’m just gearing up. For as long as I can, I will keep making art that reflects both the lightness and the darkness of the world, in my quiet, but determined way.”

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The stitching lady speaks!

Thank you to all of you who’ve already made the trek to see my show, Liberty and Justice, at the Cotuit Center for the Arts . If you haven’t been yet, there are just 2 more weeks to get yourself over there! They report great traffic, with many smiling faces seen on folks coming from the Upper Gallery. To read a review of the show from the Falmouth Enterprise, click here.

You are invited to come hear my talk on Sat., April 13th at 11 AM. I will give a peek behind the scenes at my working process (including making the film) and share what it’s like to shift from safe and secure subject matter to political art.

Liberty and Justice: The Sweet to Satirical Art of Salley Mavor 
Cotuit Center for the Arts, Cotuit, Massachusetts
March 2 – April 20, 2019
Artist Talk – “Sweet to Satirical”, Sat., April 13, 2019 at 11 AM

The exhibit will be in Cotuit until April 20th and then a portion (including the film) will go to Kennebunk, ME for The Art of Cute exhibit at the Brick Store Museum (May 1 – Aug. 31, 2019).

I’d also like to remind you that 4 large bas-relief embroidered pieces (Including Displaced, below) are in the Migration exhibit for 2 more weeks.

Imago Foundation for the Arts, Warren, Rhode Island
March 14 – April 20, 2019 – 
Show Dates
IMAGO Gallery is located at 36 Market Street, Warren, RI 02885 – 401 245 3348 – Open Thurs 4 – 8; Fri and Sat 12 – 8; Sun 11 – 3 and by appointment. 

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/orInstagram.

Migration exhibit

Friday night was the opening reception for MIGRATION at the Imago Gallery in Warren RI. The curated exhibit includes a wide array of art on the subject of migration, refugees and displaced peoples. The amazing sculptor, Harriet Diamond and I are the featured artists in the show. I really enjoyed meeting her and look forward to our gallery talk on Sunday, March 24 at 1:00 PM. Harriet and I will begin with short visual presentations about our art and then we’ll have a conversation with each other and the audience. The show will be up until April 20th, so I hope that those of you from Rhode Island and southern Massachusetts can get over there to see it. IMAGO Gallery hours: Thursday 4-8 | Friday and Saturday 12-8 | Sunday 11-3

Harriet and I chatted about the many facets of our art that we share – we both make sculpture, use small doll-like figures, present narratives that tell the human story and portray a range of social scenarios from the everyday to topical subjects. Please scroll down to see photos of her powerful and ambitious project. Four of my bas-relief embroidered pieces are on display: Face Time, Cover Up, Whiskers and Displaced.

Artist Harriet Diamond’s work “Driven From Their Homes,” is a hybrid installation sculpture and illusionistic scene that chronicles the horrors of the Syrian War and diaspora. As Diamond notes, the work “depicts an episodic journey of refugee people fleeing from the terrible destruction of their home city” to an unknown future.  Each figure struggles to cope, to grieve, to endure.  “It is a dark scene, but it’s also roiling with life.”  Because of the size and scope of this piece, viewers will be surrounded by the scenes as they unfold.  All human emotions, from fear to desolation, from courage to heroism, are etched in the faces of these victims of war.  It is the artist’s fervent hope that by telling this story the “terrible truth of war” will become “more present and real to us.”

I am blown away by the power of “Driven From Their Home”. There is so much to take in. The figures are constructed of clay and the building structures are styrofoam slabs painted to look like concrete. She has set up this installation in several locations, piecing together the many parts like a puzzle.

If you make the trip to see the show, please know that there’s a great little eatery next door – Eli’s Kitchen. Here are the dates of the show and talk:

Imago Foundation for the Arts, Warren, Rhode Island
March 14 – April 20, 2019 –
Show Dates
Sunday, March 24 @ 1:00 PM – Artist Talk with featured artists Harriet Diamond and Salley Mavor.
IMAGO Gallery is located at 36 Market Street, Warren, RI 02885 – 401 245 3348 – Open Thurs 4 – 8; Fri and Sat 12 – 8; Sun 11 – 3 and by appointment.

To see my current schedule of exhibits and talks, click here.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram

Self Portrait revisited

Usually, my 2007 embroidered piece, Self Portrait: A Personal History of Fashion is on display in its semi-permanent home at the Woods Hole Library, but this year it will be on view at the Upcountry History Museum in Greenville, SC as part of my exhibit, Salley Mavor: Social Fabric, April 3 – Sept. 11, 2021.

Self Portrait: a personal history of fashion, 2007

It’s been a while since Self Portrait was featured in my very first blog post in 2009, so I thought I’d revisit it today.

Self Portrait detail

An old acquaintance wrote to tell me that three generations of her family enjoyed seeing my work at the Cahoon Museum. She especially wanted me to know that her 4 year old granddaughter was so taken with my self portrait that they couldn’t tear her away. For little Emma, seeing the progression of dolls opened up the concept of growing up, which led to her asking lots of questions. I love hearing accounts like this, because it reaffirms my intention to make art for all ages, whether it’s book illustration or stand alone embroidered pieces like this one. 

Note cards and an 18″ x 20″ poster of the Self Portrait
is available in my shop here.

This piece seems to resonate with a lot of people whose lives parallel the same time period. I can’t tell you how many women remark that they had an alpaca poncho, too! As well as clothing memories, we all have a personal soundtrack that goes with different times in our lives. This video is a nostalgic tour through fashion and music that my husband Rob and I put together. At the end, there’s a list of the music.

Self-Portrait detail, 2007

I made the piece for a self-portrait themed invitational exhibition in 2007. It shows a spiral of dolls, one for each year, starting with my birth date in the center. Each figure is dressed in an outfit I would have worn that year, taken from memories, family photos or imagination. The figures range from 1 in. to 3 1/2 in. and are variations of the wee folk and fairy dolls in my how-to book, Felt Wee Folk.

Self-Portrait detail

Since I made many of my own clothes, I remember the fabrics and clothing styles. They are recreated here with smaller scale fabric and embroidered wool felt. My husband, Rob, appears the year we were married and my sons, Peter and Ian, are included through the years when they were little and physically connected to me. The tatting around the outside of the circle was made over 100 years ago by my late grandmother, Louise Salley Hartwell. The wool felt spiral in color gradation is mounted on upholstery fabric, which I embellished with multicolored french knots.

Self Portrait at it’s semi-permanent home, the Woods Hole Public Library

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fiber art at the Cahoon Museum

Last Friday was the opening party for Twisted, Twined and Woven: Contemporary Fiber Art at the Cahoon Museum of American Art, which is located in Cotuit, Massachsetts. The exhibit will be there until Dec. 22. On display are four of my fabric relief pieces (Whiskers, Cover Up, Face Time and Displaced) and the work of Jodi Colella, Jacqueline Davidson, Anna Kristina GoranssonSarah HaskellAndy MaueryDiane Savona and Elizabeth Whyte Schulze. 

Whiskers, Cover Up, Face Time and Displaced

It was fun to see old friends and meet new people in the museum’s beautiful new gallery. The space was added on to the Colonial Georgian home (c.1775) that constitutes the original part of the museum. By early 1800’s, the building was operating as a tavern, an important overnight stop on the Cape Cod stagecoach line between Sandwich and Hyannis. I love how the new addition creates more opportunities for showing art, while maintaining and complimenting the historic parts of the museum.

Stinger by Jody Collella

The exhibit is as diverse as fiber art is and includes framed works as well as hanging installations and large scale, free-standing sculpture. Jodi Collella’s extraordinary scorpion made of vintage lace doilies dyed black is the dramatic centerpiece of the show. When the museum director and curator, Sarah Johnson, asked for recommendations of other artists for the show, I told her about the incomparable Diane Savona. As expected, her piece, Security Blanket is powerful and moving. Other pieces on display are Anna Kristina Goransson‘s vibrant felted work, Sarah Haskell‘s framed embroidered houses and baskets by Elizabeth Whyte Schulze.

Detail from “Security Blanket” by Diane Savona

“Beauty in Growth.” by Anna Kristina Goransson

The following pieces of mine are included in the exhibit – Displaced, Cover Up, Face Time and Whiskers. As with all of my work, including illustrations that are reproduced in children’s books, seeing the originals is a different experience than looking at photographs. If you can make the trip to Cape Cod, I encourage you to come and see for yourself.

I am happy to announce that the Cahoon Museum will be hosting the premiere exhibit of original illustrations for my new picture book, MY BED: Where Children Sleep Around the World. The exhibit will be coordinated with the book’s publication by Houghton Mifflin Harcourt in the fall of 2020. Like the traveling show for Pocketful of Posies, I hope to schedule other exhibits, so that more people can see the “real thing”. Interested museums and art centers are welcome to contact me for information about hosting an exhibit. It would be wonderful to have the illustrations make their way across the whole country!


All winter long, while I sat and worked on this piece, I listened to news stories on the radio about people who are fleeing their home countries amid war and conflict. Even though Displaced is inspired by recent world events, it could very well represent the universal and timeless plight of refugees throughout history. When forming an idea, I often think in terms of creating miniature shallow stage sets and with this one, I envisioned a melodramatic scene full of foreboding as well as hopeful anticipation. The trail of heavily burdened figures are like an operatic chorus, winding its way upward through a threatening landscape. To help create tension in the design, I thought of opposite forces, such as dark/light, despair/hope, trapped/escape, harsh/tender, sharp/soft and horror/beauty.

Cover Up

COVER UP is a collective portrait of women from around the world, each with a head covering that reflects the conventions of a particular place, social class or time in history. The 45 depictions invite comparison, pointing out contrasts and similarities between different societies. They all wear some kind of scarf, head piece or mask that serve as identifying markers, whether they are forms of self-expression and fashion, or dictated by religious and cultural tradition.

Face Time

FACE TIME is a broad interpretation of a family tree, showing the faces of humanity through time, from early in history to today. The 41 individuals represent a variety of peoples and cultures throughout the world, all connected through branches of the center tree.


WHISKERS focuses on beards and mustaches, showing an array of male characters from different cultures and historic periods. The piece explores diverse societies and their origins, using needle and thread to signify the unraveling and mending of human cultures throughout history. The large face and beard that contains the various heads is inspired by Assyrian sculpture.

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