I am still working on my sulfur quilt and as I have been working in creating the fabrics I have been thinking about the life the carusi must have endured. Sold to the mine owners or workers for an agreed number of years, what must they have thought of their lives as they hauled heavy loads of sulfurous rock from deep underground up to the surface? They often lived, ate and slept somewhere in the mine, having no proper home to return to. For many boys their only escape from this dreadful life was to be rescued by being called up for military service.
The artist Onofrio Tomaselli created this painting in 1905 after staying for some time with Baron La Lumia, a wealthy sulfur mine owner, and witnessing at first hand the fate of the carusi. The painting was exhibited in 1906 in Milan at the World's Fair and was a tribute to 19 carusi who lost their lives in one of many terrible accidents at La Lumia's sulfur mine in Gessolungo, which occurred in 1881. I guess it shows that there were, at least, some people with a conscience at the time.
(Source: Davide Mauro (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons)
For the fabrics, I dyed lots of yellows as you would probably expect. Starting with lemon and golden yellow fiber reactive dye I added very small amounts of orange, rust, bronze and chartreuse to create interesting mottled backgrounds. Onto that I monoprinted shapes, words and other marks that help tell the story of the carusi.
The fabrics have turned out to be very interesting - I added very dense print marks, which may mean the quilt will end up with very 'busy' look, so I will have to be very careful when positioning the different pieces.
Planning ahead, I decided to check out how the straight quilting lines would look over the young boy's face, so I made a small trial piece. Although it may seem like an extra step, I prefer to try out important design features to ensure I am happy with the effect before moving on with a design. I have used this simple but effective straight line quilting pattern on the other quilts in this series, so I was keen to continue using it, but not if it comporomised the overall look of the quilt. Happily, I think it works well.
As I have no plan for this small sample I have entered it into that SAQA 2017 trunk show. I hope it arrives in time!
I am now in the process of positioning the fabrics on the design wall to create the quilt top. I usually take a quick photo of several different variations and then look at them to see what works and what needs to be changed. Somtimes a layout just falls into place, but when it doesn't I find this really helpful.
I'll let you know how it develops in my next post. Until then, thanks for reading.