The bit I added yesterday was the shadow circle at the bottom, made of dark (navy?) tulle. I think the piece reads like a diptych now, and I think--I admit I'm not sure--that it balances well. It's a case where the negative spaces may be more important to the design than the positive ones.
And I did a lot of hand stitching on this piece--not the quilting, but seed stitches and French knots here and there. Here's an example:
The first picture is a more accurate rendition of the color than this one; but here you can see the seed stitches. While I am striving toward the 'less is more' school of design, I think that adding texture that can only be appreciated when you approach the piece is a good thing.
I originally just overcast the edges on here, but I actually didn't like the frayed look for a change. I had enough of the acid green silk (which came from a hand dyeing accident--one of the few times I've had color transfer in the washer after dyeing) to use as a single layer binding. I thought about using black, but decided that was because my design wall is black, and not because of what looked right on the piece. I like the echoing of the greenish circle.
The piece is called Lake Cooper after the place I recognized in the original dyed tea towel--the lake formed above the dam on the Mississippi at Keokuk, where I have watched many sunsets on the calm still water, the best ones from my kayak.
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