My Studio 2009

I’m often asked how much time I spend in my studio. Well, my husband Rob would say,”When Salley’s not eating or sleeping, she’s up working in her studio.”

my studio in 2009

I moved into this studio above our garage about 6 years ago. Before we fixed it up, it was an unfinished space with bats flying around. Rob had been working on me for years to consider making the area into a studio. I loved my work space downstairs, which was a room conveniently located just off our living room. When the boys were young, I could work and keep an eye on them at the same time, but now they didn’t want or need me to keep an eye on them. At first I thought the 24′ x 24′ room would be too large a space for me to feel comfortable working in, but now I’m glad for the extra room.  I like cozy spaces and my actual working area is quite small, but I need room for storing my materials and for displaying all of the things that I like to have around for inspiration.

my work table in 2009

Picking colors for the walls and trim was important. I wanted the feel of being inside a cantaloupe, with green trim, like the inside layer of rind right next to the orange fruit. I tried out different shades of paint , buying quarts and painting sheets of foam core board to hold up around the room, in different light. I ended up with a light peachy shade for the walls and a light green for the window trim. The painters looked at me funny when I showed them my choice, but later they said, “You know, this came out pretty good”. I also painted an old chest of drawers to match with brighter shades of orange and green. The paint had names like pumpkin seed, summer town and prairie splendor. I wonder whose job it is to come up with paint names!

display area in my studio, 2009

Rob calls my studio “Kit Peak” from the years when I cranked out a steady stream of Blossom Fairy kits. I gave up the kits a couple of years ago in order to finish illustrating my new book, which is a hefty 72 pages. Pocketful of Posies: A Treasury of Nursery Rhymes is now in production and will be released next fall. It takes a whole year after the artwork is delivered for a book to get to the bookstores. The pieces are photographed, the type layout is designed and corrected, copy is edited and corrected, printing proofs made and corrected, printing and binding done and then the books are sent via a container ship back from Hong Kong. I just saw the newest layouts of the book and Houghton Mifflin is doing such a good production job that I can hardly contain my excitement!

display table in studio, 2009

Apple Orchard

This piece from 1992 was inspired by some metal apple crate tags which I found on our property on Cape Cod.  

APPLE ORCHARD, fabric relief by Salley Mavor, 1992, 22" x 27"

detail from APPLE ORCHARD

An apple orchard was here about 100 years ago and all that remains are these tags that appear from time to time on the ground in the woods. The metal is stamped with the names Fall Pippin, Baldwin and McIntosh. I’ve used them to frame the border, along with a kid leather lattice pie crust  in a silver bracelet pie dish. The woman’s pig fabric apron  is made from a childhood dress of my mother’s from about 1930. 

Metal apple crate tags, pie with leather lattice crust in a silver bracelet

Apple Crate tags

Over the years I’ve accumulated kid leather gloves from my grandmother and great aunts. It seems like ladies from their era could not have too many gloves. The leather is thin and easy to cut with scissors. It can also be painted with fabric or acrylic paint. 

kid leather gloves

Joining the Blogging world! Selfportrait

detail from Self Portrait : A Personal History of Fashion 2007

This blog is an opportunity to share my creative life with you, whether you’ve seen my illustrations in children’s books, have made projects from my how-to book, Felt Wee Folk, or are a lover of embroidery and textile art.  I will share pictures of my studio and work in progress, along with images and artists that I find inspirational. After years of quietly working in my own private space, I feel compelled to communicate with like-minded people, who have a passion for stitching.  I plan to present current work as well as dip into the past, showing early works made during my 40 year career.  It may take a while for me to become comfortable sharing my ideas and reflections in writing, as I am more content  to make and show than explain in words. So, rest assured that I will be posting lots of images!

Self Portrait: a personal history of fashion, 2007

I made this piece for a self-portrait invitational show 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 dolls are a variation of the wee folk and fairies in my how-to book, Felt Wee Folk.

Self-Portrait detail

I made many of my original dresses and recreated them 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 by my late grandmother, Louise Salley Hartwell. The wool felt spiral is mounted on upholstery fabric, which I embellished with multicolored french knots.

When the piece is not  included in one of my exhibitions, it is on semi-permanent display at the Woods Hole Public Library, Woods Hole, MA. My husband Rob and I made the following film set to music I remember hearing through the years.

Self-Portrait detail

Posters and cards are available in my Etsy Shop here.

Poster – Self Portrait

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