FARM FIELD NEEDLEPOINT

There is an envelope pinned to the back of this piece that contains Elinor's description of this work and her creative process. The contents of the document, composed by Elinor, are as follows:

Working in both representational and non-representational ways has its advantages. One effort helps me with the other. When I look intensely at and draw the varied forms of nature I enrich my mental cupboard. Later these forms and colors appear in a non-representational picture. Just so, when doing a non-representational work, I can concentrate on placement, spatial tension, movement, contrast and so on. This exercise helps me again to build a better representational picture.

Serigraphy offers quite a variety of experiences for the artist. One can paint with tusche and or glue. Sketching with soft pencils, picking up textures by rubbing, or cutting a hard edge with film are all possibilities. Photography can be used - even the typewritten stencil can be reproduced. Add to that the great variety of paints and papers, boards, acrylics and textiles with which one can print and you have unlimited possibilities.

This tapestry is the final release of an idea that's been brewing for thirty years! It is a "remembrance of things past", the year 1943 to be exact. My only brother had joined the air force and harvest time was upon us. My dad recruited the only help he could get, his four daughters. We were house girls and not skillful at field work.

My sister Betty, (dotted dress) and I were extremely close. We had designed a lot of dolls clothes, etc., together and our minds were very much in tune. As I walked through the field on that hot harvest day, bringing lunch to the others, my thoughts ran on like this ....my hair is gold against the very blue sky and my dress is blue against the very gold wheat. That would make a nice picture....

Just as I arrived at the spot where they were working, Betty said to me, "Your dress is so blue against the field and your hair is so gold against the blue sky. That looks so pretty."

It was a reading of the minds and a mutual sensitivity to the beauty of our surroundings. I was much moved by that and have not forgotten that moment.

Though the work was dusty and heavy, we joked and laughed all day. We tried our best. Later a wind came over the fields and blew down much of our efforts. My poor dad had to go back into the field and reset the shocks.

Creativity has been running at a high pitch all my life. It was not always directed at picture-making. It came out in the clothes I designed and sewed. Later I directed it into teaching procedures and into home decorating. It can be used as a social tool, aiding one in one's relationships with other human beings. I've made many a friendship built on mutual delight over "making something".

I think I have a sort of "over-all fullness" philosophy. I'd like every area, right down to the table arrangements for a meal, to express a spirit of love and imagination and naturalness. I feel all shades of frustration when I am unable to achieve this. I have never been able to do this completely.

I have much in my head that needs to be said.