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Opening night

Detail of "Mnemonic Sampler" abecedary by Chandler O'Leary

When I walked into the PLU Gallery this morning to document the Mnemonic Sampler show when it opens, my brain had somewhat of a short circuit. Since I was out of town for the past few days, all of the installation work was done for me (thank you a million times over, Heather C.!)—so this was the first time I’d laid eyes on the work since framing it up and chucking the pieces in a box. I somehow couldn’t connect the finished work on the walls with the crazy, chaotic process of the past few months. It seemed so simple, like this was somebody else’s show, and all the nail-biting and never-ending futzing I’d been doing was for some other project that would remain unfinished forever. But I did finish it—and there it is!

Gallery installation of "Mnemonic Sampler" abecedary by Chandler O'Leary

I was nervous about the possible absurdity of having twenty-six small pieces in a colossally huge space, but somehow, it works. Heather ingeniously used lighting and visual breaks to transform the gallery into a space that draws the viewer in and creates an intimate experience—which is exactly what I hoped for. Heather, I owe you big.

Detail of "Mnemonic Sampler" abecedary by Chandler O'Leary

On to the work itself. Here is the artist statement for the exhibit:

The alphabet is one of the first lessons we learn as children. From the beginning we learn to use it as a mnemonic device—just like “Roy G. Biv,” or “Every Good Boy Deserves Fudge”—assigning meaning to our world by associating symbols with each letter. Because the alphabet is one of our most basic and effective memory tools, we are drawn to it as both a visual and narrative archetype. It’s not surprising, then, that the abecedary is somewhat of a staple among book artists.

Just as we use our ABCs as a memory aid, our possessions help us create the concept of Home. No matter what our economic station, living situation, or domestic permanence, we all tend to share similar symbols of comfort and nostalgia. These ideals are embodied in the everyday objects around us—those mundane materials we take for granted, yet without which we would sense something lacking. As someone who has never had a picket fence, who grew up in a nomadic military family, and who has lived her entire life with relatively few possessions, the archetypal Home should seem foreign to me. Yet the same mnemonic triggers exist in my mind; the same objects attract me.

Mnemonic Sampler collects and files our household icons, gathered together like the stitched and quilted samplers of our mothers and grandmothers. The hand-stitched alphabet enumerates my, your, our trappings, shuffling our collective domestic inventory like the old card game of Memory. Each symbol is familiar; each object is Ours, whether we actually possess it or not. Together they sketch out a Home—real or imagined; longed-for or spurned; past, present, or future.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

Mnemonic Sampler is a collection of monoprints, which means that instead of an edition of multiples, each print is created in such a way that it can’t exactly be reproduced. This technique results in a one-of-a-kind, totally unique piece—and is often more closely related to painting than printmaking. These pieces are printed from reduction-cut linoleum blocks—meaning both print colors are carved from the same block.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

So once the second design is carved, the first color cannot be printed again.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

Designing these pieces was an intuitive process, consisting of both logical and intangible choices of fabric and pattern compositions. Because the design stage was so fluid (almost semi-conscious at times), it really wasn’t possible to do the printing on a press. Instead, each impression was made literally by hand, using masking tape to aid in color registration.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

“Q” has an extra conceptual level, since the fabric background is a patchwork “quilt” in its own right. Like everything else about the series, the patchwork is sewn by hand, using the English paper piecing technique.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

This was my first attempt at paper piecing, and I’m pleasantly surprised at how quick and accurate it is. Instead of folding and ironing every tiny piece, then wrangling a sewing machine, each patch is wrapped around a paper template and basted down, then whip-stitched together into a block.

Detail of "Mnemonic Sampler" abecedary by Chandler O'Leary

The result is a precise little quilt—perfect for embroidery.

Process photo of "Mnemonic Sampler" abecedary by Chandler O'Leary

I can’t believe how long it took to complete every step of the process—and yet how quickly everything came together at the end. So you can bet I’m excited about celebrating at the opening tonight. And besides, I’m interested to see if the household objects I chose will resonate with viewers; it wasn’t easy to narrow things down to twenty-six letters of the alphabet, so I picked those objects that had the most meaning for me.

So how about it—what spells “Home” for you?


8 thoughts on “Opening night

  1. emilie

    These are so beautiful! Thank you for the sneak peek here in your blog… I will definitely attempt to make it out to the gallery for the full effect. It reminds me of an exhibit my mother–a poet– was involved in with some years back: a quilting and poetry exhibition called “The Visual Verse.” Similar to your printer’s affinity for alphabet samplers as pieces of home, their joint effort combined quilts, aprons, and the poetic division of “daily work” into the “sacred hours” of the day (vespers, etc). …anyhow, your work is lovely, and if you’re interested in seeing the art part of the quilt piece, you can do so here: http://contemporaryquiltart.com/VisualVerse/Wood_AWeekLikeAnyOther.htm

  2. Lara

    Really neat concept, and beautiful execution!

    I paper-pieced a baby quilt once. It’s in the Grandmother’s Flower Garden pattern and it took me four years to finish! Not because it was hard, but because I tended to only get it out to work on once every six months or so.

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