Self-annihilating Kitty Quilt was abandoned this week to work on my website.

My first art book was on British Pop of the sixties.  I LOVED Yellow Submarine when I saw it  in Ankara, where we were living when it came out.  I loved the clash of cultures I was living with at the time: Turkish crafts and pop-culture cinema, Greek ruins, Roman ruins, Byzantine ruins, fantastic Islamic architecture, Americans abroad, and the halting English spoken by my Chinese-Japanese mother who was never fully present.  Even then, everything was rainbow-colored by the Beetles.

Post-holiday sugar-rush still lingers, disturbingly, in the pit of my stomach.  In trying to exhibit some kind of discipline, I am continuing to document the new tapestry.  This continues a line of thought documented first on the 12/5 post.  For convenience I’m calling the piece the Self-Annihilating Kitty Quilt.

The quilted part of the tapestry is a background graphic. The shadow-box faux dimensionality will morph into digitalized snow.  The greater part of the sketch represents a more sculptural deep relief.  A sculptural “bio-mass” engulfs the kitty quilt.  I think of it as a bacterial infection.  Perhaps a too obvious reference to the technological “virus”?

The cat is a representation of a kind of obsession that can be taught to machine intelligence.  There is a human fascination with biological forms that are “cute,” a visual sugar-rush: self-indulgent excess.