More spots prepared

An embroidered version of the Cartouche of Nefertiti, in turquoise and yellow on a brown marbled fabric.

Originally the Cartouche was going to be rectangular, but as I started to cut the pelmet vilene I’m mounting the spots on, it began speaking to me very firmly.

Long term readers know that this sometimes happens to me, and I have learnt over the years that the sensible thing to do is listen. My projects almost always know better than I what they need to thrive.

In this case, I was informed that I should make the cartouche mounting echo the curves at the top while keeping the square edges at the bottom. It wasn’t easy to do – that silk noil fabric has a way of misbehaving that would make Robin Goodfellow whistle admiringly! – but now it is done, I’m inclined to agree.

The head of the embroidered representation of an ancient Egyptian vessel in the shape of a Nile Tilapia. There are pins sticking out in all directions.

The next spot I tackled was if anything an even greater challenge – a fiddly shape (really fiddly!), in quite a light fabric, which didn’t always respond as I expected.

You can see here just how be-pinned and be-poked the poor Tilapia became! There was much clipping and snipping, muttering and tugging, before I produced something that looked at all pleasing. Maybe that’s just to remind me of the reason I did him – hearing a modern glass artist saying that he’d tried to recreate the ancient glass vessel and found it really difficult – to such an extent that even with much practice, he couldn’t expect every fish to go swimmingly (as it were…!).

A box piled with the spots now mounted around their pelmet vilene and ready to be applied to the main panels.

So, after much cutting and stitching, tugging and thinking, I’ve mounted all the Spots around shaped pieces of pelmet vilene, ready to be attached (somehow!) to the main colour block panels of the two main Amarna pieces.

Gratifyingly, they all have much more vivid personalities than the photocopies I’ve been using to plan their placement, so I think that will genuinely work. Thank goodness!

In the meantime, I’ve got them piled up in a box, all shouting at once that they consider themselves Absolutely Splendid, and will I please Get On With It…!


  1. Sue Jones says:

    The cartouche was right. The curved top is echoed in so many places in the inscription that the whole thing gains identity, unity and reality from the outer shape. It becomes a thing not a picture of a thing.
    The fish gains reality too, but that already has cuteness and unity on its side.

  2. Lin says:

    Nice to have them all done and the curved top looks just right. xx

  3. Both top and bottom of the cartouche have the right shape as they echo the braided embroidery frame.
    Pins are a stitcher’s best friend!

  4. Carolyn Foley says:

    Sometimes embroideries can be excessively chatty!

  5. Linda says:

    I talk to myself or to the work, I don’t think my work has spoken to me but maybe I wasn’t listening. All looking good.

  6. Amo says:

    It’s lovely when something has its own opinion and it’s far superior to anything we could think. 😁

  7. Jillayne says:

    “Right” indeed – the cartouche looks splendid in that shape so well done for paying heed. My work speaks to me this way as well and I do listen though it isn’t always what I want to hear!