12.31.23 [on the F train]

i spent the last of the morning setting out the final, top row of pieces to conclude the first stage of my pandemic english paper piecing quilt, a project that might actually have been simmering since 2019, now that i think about it—i bought some of the fabric for it when i was on st. croix for agrifest in february of 2020, and it was well underway by then. this portion is one of the loveliest for me—i've carried up from the waterline flash of sunset fire up to billowing clouds pieced with sherbet-colored liberty fabric, then bled those hues into bolts of darkening sky that becomes grey cosmic whorls and, finally, graphic black-and-white hexes that feel a bit like regolith liberated from a moon's gravity, or what a lithographer like jacques hnizdovsky would see in his mind's eye if he stargazed on a shore. the foot of the quilt features abstracted and rearranged grey-and-black koi on kimono fabric mixed in with some of my favorite hand-drawn blues to give the look of tide and pools mixing it up on a rocky shore, and at first i thought the final row at the top would include a bit more of those dusty floral greys, but i think that conclusion of unbroken darkness–or lightlessness, maybe—is fitting, as i for one don't know what comes next. i remember sewing that cartwheeling horizon together on a long-gone new year's eve and thinking: something is afoot.

we humans haven't been beyond lower earth atmosphere, where the international space station does donuts around our planet, since the early '70s, a factoid i don't imagine many non-scientists think about too often. fungi hae also been that far in recent years–we and fungi, out there deciding what we're going to do about cosmic radiation and what our next shelters will look like. i'd like to sew the last hexes in place tonight.

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