This would have never been possible without my wonderful mother (an exceptionally talented seamstress), and the keen eyes of Tim and Betsy Forcade of Forcade Associates in Lawrence, Kansas - their fantastic view of color and its effect on a printed piece allowed my work to be seen in a way I have never viewed it before - rich, vibrant, and alive. I extend my thanks to everyone involved in this project.
Before the pieces were placed in the gallery space, I spent my time taping up paper that was roughly about the same size of each work.
Laying out each print. This was the first time that I had seen the final printed pieces - I was breathless! My mother drove them all the way up from Kansas with her, and we stationed ourselves in a hotel for almost a week to finalize the work.
Picking out a coordinating fabric for each thangka.
My mother removing thread and other miscellany from inside the Red Tara piece. We just thought it was too goofy to NOT take a photo.
I apologize for the horrendously blurry photo! A side-by-side of the Guanyin and Red Tara in their final state.
The final layout.
Not the most flattering photo (especially my vampire eyes), but you can get the gist of just how large each work was.
Looking back, I'm remembering just what a rewarding experience it was to make these pieces. I don't think I am completely done with the concept just yet. It still has so much room for growth, and there are other Buddhas/Bodhisattvas that were unable to make the cut for the show (due to time constraints), that I would still love to explore. Eastern imagery never ceases to inspire.
As a footnote, feel free to take a peek my thesis featured in a few small publications!:
Until next time!