A few months back my mother gifted me two hankies that belonged to my paternal grandmother. One is cream with matching coloured embroidery around the edges, and the second is a light yellow with the same design of embroidery around each side in a lavender colour.
For the longest time, I had no idea what I might do with these hankies. But recently, as I have been researching for my literature review, I came to the conclusion that the hankies might be able to a provide movable element for the quilt. This would enable the quilt to -importantly- address/reflect the constantly shifting/evolving aspects of intersectionality fundamental to thinking about present day ‘feministing’, as well as shifting understandings of what constitutes contemporary craft.
Symbolically the quilt is monogramed because that’s what I remember when I think of many of my grandmother’s belongings; the initials monogramed however I decided should be my own. The typographic font I chose for it’s similarity to that of many posters of the 1970s – the decade where my research begins – and I completed the work in neon thread to symbolize my contemporary revisiting of the 70s font.
On the underside of the hankie I have sewn eight clear snaps so that the finished element can be attached, rotated or removed from the work. Finally, I realized that the snaps on the hankie may not only speak to some complex theoretical elements of feminism, but that it also solved the main symbolic problem that it may otherwise have created. If my initials had been fixed to one corner of the quilt, it would have created a proper way-up, and I created the quilt in the shape of a revolving triangle (meaning that the images in the pattern block face any which way) so that it has not hierarchical structure.
I’m feeling really excited this week as the readings contained within this quilt review continue to deepen.