I'm going to tell you how I pack & ship quilts and/or textile work to far-away places, but first I have to tell you a story:
In the 1970's it must have been a lot cheaper to ship overseas, because huge Swedish boxes used to arrive at our home in California loaded with embroidered textiles, dishes (!), lead crystal (!!), children's books, nyponsoppa, trolls made from river rocks, wooden-soled clogs, Dala horses and any other impossibly heavy object that you wouldn't dream of shipping to a family member now, 40 years later. Okay, maybe if you have a magic checkbook you would do this.
The boxes of my childhood weren't designed in Silicon Valley, they weren't filled with styrofoam peanuts or air bags, they weren't barcoded, they weren't shipped Prime. They were wrapped in brown paper and tied up with string (seriously). Indestructible and filled with mystery, they held the key to my mother and her past and to a family that loved and remembered us, despite living so far away. But the most sensual part? The part I still remember? These things smelled like Sweden -- all paper pulp, wind-whipped laundry and oiled wood. Heaven. Even still.
These Swedes were expert packers and in all the years of sending and receiving boxes, only one coffee cup ever arrived broken (and we happily glued the handle back on). Opening a box from Sweden was steeped in the ritual of tangible and magical. When I hear about the strange phenomenon of contemporary self-videoed "unboxing," the epitome of consumption, it makes me sad. Our unboxing wasn't consumption, it was absolute nourishment.
In my 20's, I traveled to Sweden alone and brought small handmade coin purses for my cousins -- two young women I didn't grow up with and barely knew. The sisters both unwrapped and immediately held the packaging to their noses, closing their eyes, like they'd done this a hundred times before. They looked at each other and whispered, "Smells like America."
So here's how to pack your quilt (maybe like a Swede):
I recently spent several hours preparing five textile pieces for travel. Two were delivered to the Anchorage Museum for the final round of jurying for their biennial show, All Alaska Juried XXXV (a 9 minute drive for me), two were dropped off for a local show at the blue.hollomon gallery (also a short drive) and the fifth was shipped to the Schweinfurth Memorial Art Center in Auburn, New York for the show "Quilts=Art=Quilts, 2014," and this place is just really far from where I am in Alaska.
I'm not an art shipping expert, but I love art. I've had work shipped to my home and been thrilled with the care involved; alternatively, I've been dismayed by terrible packaging, and left wondering how the work arrived intact at all. One thing I am an expert on is packing wedding gowns (but, do NOT ask me to make you a wedding gown, do not do this), so I came to this latest task with this history in mind. And the key is a safe cushion of air. And time. And a beautiful presentation.
Save packaging materials despite your husband's complaints ("Why, yes, we do need an exploding closet full of bubble wrap and polyethylene foam"), allow more time than you think you'll require to do the job and gather all supplies in advance -- shipping tape, tape dispenser, blade, scissors, measuring tape, tissue paper, bubble wrap, lint roller, plastic, etc. Put good music on. Go pee. Wash your hands.
These are wall hangings we're talking about here, so plan on rolling them (do not roll a wedding gown ... did I mention I'm not making one for you?). I sourced 8" x 8" x 36" boxes that open on the long side. One piece measures 72" wide so I telescoped two 40-inch boxes together. (I'm hand delivering this big one, luckily because I would have had to use a magic checkbook to ship it, and if I create something this large again, I'd consider folding and rolling it, then making arrangements with the gallery/museum for an appropriate hanging apparatus. Well, I'd consider it, but in the end probably pay the shipping bill and no-way fold a textile piece or trust someone else's hangar. And then I'd make smaller work in the future. And this would make me feel disappointed. So then I'd manifest a magic checkbook).
I read a post a while back from artist Kathleen Loomis, in which she described collecting foam pool noodles to roll her textile work onto for shipping and I thought this was awesome advice. But here's the not-awesome part: try finding a pool noodle in Alaska in September. So I built custom-sized "noodles" from sheets of polyethylene foam, covered them with felt sleeves and this worked perfectly. Begin by spreading a single layer of acid free tissue and bubblewrap on the surface of the work, then loosely roll the textile onto the noodle from the top edge, wrong side out.* Wrap in another layer of bubble wrap, but don't use tape...someone will have to rip it off and may be tempted to use scissors. Keep it loose, keep it tidy, keep the cats out of the studio because you have already cleaned all that hair off with the lint roller in advance. If you failed to do this, go back and do it now.
Next use a plastic bag to cover the roll and secure loosely at both ends. I've pieced white kitchen garbage bags together, but it's better to use clear.* The plastic creates more air around the work and also saves it when it slips off the conveyor belt and onto the tarmac in an Alaskan snow storm. Note here that this is for shipping and/or short term storage only. Do not store textiles in plastic. Do not store a wedding gown in plastic. Do not store your cheese in plastic. Plastic is bad, very bad for things that need to breathe, plus it will off-gas or trap moisture and facilitate mold. Quick, go run into the kitchen and put that cheese in some cheese paper while you're thinking about it. Wash your hands.
Do not roll the artwork with the mounting mechanism or bars in the sleeve(s). Keep them separate in the box, but labeled. If you are shipping to an exhibit, along with many other artists, the gallery will be handling as many slats and bars as there are wall quilts, if not more. Label these with your name and the name of the piece, indicating if it is a top slat or bottom. Your artwork's label should have the same information. If you have a piece that could potentially be hung upside down by accident, indicate which way is up. It happens.
This should include addresses and contact information to and from, pre-printed return labels (see next section), an inventory of everything in the box that you wish returned (including the packaging), plus hanging instructions. I inserted these in plastic sleeves and lay them on top, just below the cardboard insert.
Last step (or in my case, it was the first step to this whole process) -- obtain a UPS account (or FedEx, or whatever). Learn how the website works, and when you run into problems help-chat with Peggy O. and when Peggy O. doesn't understand your question about generating a pre-paid label with bar code to send to the gallery in advance, spend an hour on the phone with customer service while your children feed themselves dinner and periodically come show how they've grated 1/4 cup of parmesan cheese on their pasta all by themselves, luckily your 5-year-old daughter will give you many hugs because you are nearly in tears with frustration; you will attempt to print a pre-paid label with the advice you've received but soon realize the system won't let you insure the art for more than $1000, so connect to tech support, who will finally explain that you can't do it this way (despite customer service's assurance that you can), but they will tell you what to do and how to fix this issue (sort of) and then you will phone the gallery, explain, and those good folks will be happy to use your UPS account to insure and ship back to you after the show. With all of your original packaging material. Because you've labeled it.*
And luckily, you've followed my best advice and allowed A LOT OF TIME for this whole process, especially if it's the first time. But it will get better, you will become faster and more efficient, your closets will bulge with pool noodles in anticipation. You'll know which work fits best in which box.
And for any of you seasoned quilt/art shippers out there, if you see something I'm missing or doing wrong -- let me know and I'll make note of your advice right here by adding to the links at the end of this post. I would also, at this time, like to request a lead on a magic checkbook.
Further resources for shipping and storing quilts:
Kathleen Loomis: quilt storage, more quilt storage, preparing for shipping
Quilter's Home Magazine: a seemingly definitive list of do's and don'ts
Machine Quilting Unlimited: an even MORE definitive list
*Amendments & Further Advice from others:
1.) Kathleen Loomis pointed out in a comment that rolling your artwork with the right side in will likely create a marred surface that is "all wrinkled and nasty." (Eew). So, with this advice in mind, roll your quilt with the right side out. But do consider surface treatment, materials, construction, and duration the piece will be stored -- then make a judgement call. The first piece I packed last week featured fragile elements on the surface like bone that I didn't want bashed around, especially when the piece is lifted out of the box and handled, so I know why I chose to roll it loosely inward with lots of cushion everywhere. It also wasn't going to sit in that state for very long.
2.) Joyce Potter (Swede) has these three things to add: 1.) A horror story about plastic wrap somehow melting onto a quilt during transit (Whoa ... just, whoa), so wrap in muslin before putting the plastic over top. Sheesh. 2.) NEVER wrap in opaque trash bags lest some well-meaning soul think s/he's being helpful by "taking out the trash" at the gallery or final destination, and 3.) a good point about shipping labels and sticky fingers ... a box labeled "textiles" or "second-hand fabric" is far less interesting than "quilt" or "artwork."
Do you have further advice based on your own trial, error and experience? I'm happy to continue adding amendments for everyone's benefit.
For more posts on how I do some things in my studio and art practice, check out the How To Category on the side bar of this blog.
I'm working with circle imagery and the containment of loss right now. This wasn't where I intended to go with the piece I'm currently working on, but it's where I've arrived. I can draw in my sketchbook or scribble on little shitty scraps of paper that I then lose, but until I start messing around on the wall with fabrics and bits, the depth of what I'm trying to ask myself isn't fully fleshed. (Mostly what I'm asking is: "What?!" and "No way. Could I do/say/put that in a quilt?" and "Why wouldn't I?" and "Is a quilt the right place for this?" and "Why is it?" and "Why won't it?" and "Why should I?")
My 5-year-old daughter announced in the doorway: "Mama, you aren't even really down here working. You're just standing there staring at the wall. And why are you whispering? Who are you talking to?" How do you explain to a child, who understands that good, solid work is done with hands and body, that this stillness is also a way to work, that work with the mind never stops?
And the whispering: "That was just me talking to me."
And the mystery of this: "Why do you want to talk to you?"
And we can travel to the farthest, darkest corners of our minds, and we can whisper-ask the same questions again and again and think we're coming up with answers, but this, itself, is also a form of circular containment ... of the wrong kind ... and one that we have to claw our way from because it will hold us back. It will keep us seductively safe from asking questions, from looking up and out. We will disappear inside ourselves instead. We may continue to create, but we won't risk.
My last employer and mentor from the clothing design industry, Manuel Mendoza, a couturier from Manila, used to say, "You can't design from inside a box." But more importantly, he said, "Damn it, stop standing there. If you don't just cut the pucking pabric you'll be paralyzed forever. You have to move. Just cut the pucking pabric! Unless it the last pabric in the world, you can always buy more." (I should mention here that this particular 'pucking pabric' was a $500/meter Versace silk print featuring enormous turquoise peacocks or flowers or something that had to overlap and match precisely up the center front for a certain busty client. And I cut it, but I tight cheeked it the whole time, and no I didn't have to buy more fabric. More deodorant, maybe.)
Then, of course, there's Diana Vreeland, who said:
"The eye has to travel."
And we do this
in order to discover that nature almost always provides an answer:
In order to compare maps and learn the landscapes others have already explored:
In order to process
and to go deeper and to connect to something dark and real and split:
In order to return
probably more than once
with the intent to collect:
In order to
contain the fear of loss and loss and loss,
and ponder the need to gather and to hold.
Itself, a mystery
that lies within us all.
“You don’t owe prettiness to anyone. Not to your boyfriend/spouse/partner, not to your co-workers, especially not to random men on the street. You don’t owe it to your mother, you don’t owe it to your children, you don’t owe it to civilization in general. Prettiness is not a rent you pay for occupying a space marked ‘female.’”
This is a brave post. If you're squeamish about blood or the magic of women or the power of accepting the physical, then you may wish to pass. But if today you felt a moment of powerlessness, or your own lack of bravery or a body disconnect, then I encourage you to read on. Maybe there's something here for you.
Around 1995-96 I worked for 6 or 7 months in a small garment factory for a woman named Madeleine Shaw. A young entrepreneur with a mind for social and environmental change and what I still believe to be a f***-ing strong business plan, I think of her as the first woman who showed me the power of the feminine. We sewed tiger striped fur coats and sheer blouses for her teeny storefront, generated patterns and garment samples for young fashion start-ups who didn't have factories of their own, produced mountains of velvet berets for Ooh La La Hat Company (this is how I still know the average head is 22" around), and we made thousands of washable menstrual pads for Madeleine's then-fledgling company, Lunapads International. (It was just "Lunapads" then. It wasn't international yet, but soon would be).
Again, that's washable menstrual pads. As in, menstrual pads. That. You. Wash. As in, look, here is the blood you deal with. And wash. And care for. Remember, this is brave stuff, so you either have to lose the squirminess and all that BS you've been carrying around about what it means to be female and make the choice to continue reading, or not.
Okay, for those of you who are still here, read more story.
I have personally cut out hundreds of pads with an industrial cutting machine. I have prepared snap tape. I have measured rick rack. I have folded wings and nestled pads into perfect little packages. And I have sold washable menstrual pads to women who were at first skeptical and embarrassed, or even initially disgusted at the idea of using a product that wasn't akin to a disposable bandage each month. And I, too, have used and washed them, for somewhere around eighteen years. But this post isn't about pads. It's about the passage of time, because in that 6 or 7 months working with Madeleine, I learned a lot about women and their bodies, and I learned a bit about feminism and eco-feminism, and I learned a hell of a lot more about myself, even if I didn't realize it until nearly 20 years later when I'm looking at my little girl and realizing I have about 5 years left before I need to usher her into womanhood with reverence and bravery and strength.
And this has me thinking about Madeleine. And my mother. And my daughter. And my three sisters. And every other woman I've come into contact with who holds a story about menarche, or childbirth, or loss. And therefore, I am thinking about every woman.
I am thinking about every girl's story.
Brave stuff, right?
Ask women about menarche and many of the same themes will emerge: confusion, shame, naiveté, disappointment. My neighbor recalled riding her bike around and around the block, skipping back into the house all afternoon to change her underwear every 10 minutes, not understanding why she kept crapping her pants. She told me this story when she was in her 40's. I was 12 and hired to babysit her children that summer. We were crouched in her walk-in closet, admiring brand new kittens in a box when she looked me in the eye and said, "You do know what hole babies come out of, don't you? Because nobody explained it to me when I was your age." I nodded numbly and then she told me the Bicycle Story, and then she slipped her heels on, and then she waved goodbye, and then she backed out of the driveway, and then I flicked through the channels until I found the Smurfs, and then I poured cold cereal for her kids and plopped into the armchair with a sweating glass of Crystal Light.
For how many women is menarche treated as a non-event? A quick Google for "First Moon Party" will give you an eye-full of a pendulum that has swung in the other direction recently (and while hilarious, much of it is degrading in its own farcicality). This isn't to say I didn't spend a hell of a lot of time in my 20's being really mad at my mother for not jumping up and celebrating that morning when I was 11 and told her my own suspicions about what was happening to my body. She'd only asked, "Are you sure?" But I'd seen a grimace. I'd heard, "I don't believe you." What I realize now is that she was completely unprepared. She had a new baby. She was exhausted. That look on her face was exasperation or fear, not disgust. She had it in her to give me the tools she'd been given by the grandmother who'd raised her, and that was it: soak in cold water, scrub harder, and the stains will go away. With enough detergent, enough lemon juice, enough sunlight, eventually, all stains will go away. All burdens will go away.
But some stains re-emerge like ghosts years later. And doesn't scrubbing at anything that hard eventually disintegrate the most fragile layers?
I don't see myself as a feminist, but I am "not a feminist" in the same way that I am "not a quilter." I have a voice in the same way that I have a skill, and both beg to be used. Still, to create this artwork, to put myself out there like this, is terrifying. But to not create this work terrifies me even more, because it is as authentic and accepting as I can possibly be, as brave as I've ever been. Even braver than the day I walked into Madeleine's small factory on my lunchbreak, looking for a job because the woman I'd been working for had bounced 9 of my paychecks in 2 years. I was maybe 25 and to say my sense of self worth was diminished would imply that some vast amount of self worth had existed in the first place. Madeleine taught strength by embracing the very core of the physical self first. Then maybe worry about what is pretty -- the occasional red manicure is a good place to start. A beautiful suit is another. The fact that I landed in her presence when I did has never been lost on me, even if I was just there for a short time. I still consider her factory as the place I healed before taking the next big step. And perhaps it's because I'm poised to take the next big steps that I'm thinking about Madeleine. Or maybe it's because I never really stopped thinking of her as a huge influence in my life even though so much time has passed.
And despite all the years away from that pad-strewn cutting table, she and the women she works with still blow me away. Everything from providing washable menstrual pads for girls in Africa so they can attend school during menses (Pads4Girls), to literally creating a celebratory day for young girls in order to invite them graciously into womanhood (G Day), and now G is for Goddess, a celebration of the divine feminine (for all those grown women who really wanted to participate in G Day). And so much more. So, yes. Re-think the definition of "Women's Work." There are women out there doing this. And it's important.
About five years ago, the neighbor with the Bicycle Story killed herself. The children I babysat were grown, she had long since divorced, moved away from my neighborhood and so had I. But she is among the women I still hold close to my heart, having shared something as uneventful as a shame-filled story in a closet, reaching toward a box full of mewling, mother-licked kittens during one of the summers of my own awakening. She was a window into my future, a mother figure, an omen: Remember this much, you've just got to prepare your girl. What else in her life, I sometimes wonder, was she woefully unprepared for? In writing this, I miss her.
I found this link (below) to Dominique Christina's poetry while poking around on the Lunapads Blog. I burst into tears the first time I watched, because it's so powerful, so poignant, and so raw. Watch it. Imagine this is your fierce mother arming you with language and bravery. We all have the ability to change the tools history has handed us and to graciously accept the tools others offer instead. More often, we just need to learn how hone what we already have inside.
These Girl Stories are important. I'm listening, constantly. I will listen to you. There is sisterhood through story, through art. Through bravery.
And none of it is pretty, but all of it is beautiful.
Madeleine Shaw of Lunapads has recently had a fabulous interview posted on the site Mamalode. To read about the amazing 7-figure success of Lunapads and the woman behind G-Day for Girls, check out the link. She's a force of nature, that one.
If you want to read more about this and/or similar work, please check out the following posts:
Write a letter to your mother.
Box of mystery.
In the deep well of series work.
A childhood in Reno meant a dose of desensitization. Slot machines in grocery stores and boobs on billboards were just landscape, like sagebrush and tumbleweed. Something the eye didn't see. One of my first jobs was cutting and sewing cigarette girl uniforms, then mending them when the heavy trays and shoulder straps the women wore all night snagged the pink crepe or ripped the gold lace or loosened the rhinestone trim. The uniforms arrived for repair in plastic bags, all cigarette smoke and rings of Secret antiperspirant. If you have ever been in a casino, you will notice there are no windows to the world outside. Or clocks. Or, maybe you won't notice this at all.
Thank you Diana Vreeland for the quote:
"The eye has to travel ..."
... sometimes, back to the home of your childhood,
in order to acknowledge that not everything is beautiful.
But some things are.
In order to see yourself as you once were
and to see yourself as you exist now.
In order to understand that color isn't something to be afraid of,
it was something you once embraced.
In order to see and walk and show and wonder and mostly remember where you came from.
In order to transition,
Artist in Anchorage, Alaska, sometimes blogging about the collision of history, family & art, with the understanding that none exists without the other.