1. How did you get started with “fabric collages”?
2. How long does it take to make a fabric collage?
3. How do you have so much patience?
5. How do you start a collage?
6. Can I have you make a collage based on my choice of subject?
7. Your collages look like paintings; why don’t you just use paint?
8. Do you glue the fabrics together?
9. How can we display a fabric collage?
10. How durable is a fabric collage?
11. Where can I see your fabric collages in person?
12. Where do you get all your fabric?
14. How many hours do you work in the studio per week?
15. Do you teach classes or give talks?
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©2002
Merle Axelrad Serlin
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| 1.
How did you get started with “fabric collages”? I always wanted to be an artist. As a child I loved “making stuff”. In college I studied art as well as government. After four years I had a BA in political science as well as 2 ½ years towards a BFA in sculpture. The plan was to continue with sculpture at an art school (rather than an art department at a university). But then I chickened out; I should get a “real job”. Three more years of school and I had a Masters of Architecture. I worked as an architect in San Francisco for about twelve years. When my husband Mark and I moved to Sacramento in 1991 I was eight months pregnant. My plan was to take a few months off after the baby was born, learn computer drafting (might as well do something useful while I was at home with the baby), and then back to architecture. But…I made a baby quilt. And I loved being a mom. |
 Early days quilting… |
| My quilts got less
and less traditional pretty quickly. At the same time I was trying
to work with some very small elements. The seams used in traditional
piecing were holding me back. When your pieces are only ¼”
and your seams are also ¼”, things get lumpy pretty quickly.
One day I started layering the fabric and sewing over it. What a treat!
I felt like I could do anything. My technique keeps evolving. Every
time I make a new collage I try new approaches. Much of the process
is trial and error. But all of it is fun. By the way, my “baby” starts High School next year, and I never did learn computer drafting. Back to top |
 The first one. Marshall's baby quilt |
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2.
How long does it take |
| 3.
How do you have so much patience? Personally, I don’t think of myself as a patient person. To me, these collages are “immediate gratification”. But you have to understand, I’m comparing it to my experience as an architect. In two hundred hours I might have been able to complete three sheets of detail drawings. Now I can take a project from beginning to end in that time — from schematic design through construction. Try that with a building!! Back to top |
| 4.
Do you do only landscapes? No. In fact, my earlier work was much more abstract. The last abstract work I made was “A New Leaf”, |
 A New Leaf 1999 |
| completed in 1999.
At that time I was awarded a public art commission to create eight
large artworks for the California Environmental Protection Agency
building. I chose to create landscapes for that project. Since then,
I have received steady commission work. Since so many people saw the
EPA collages, they wanted similar work. For the last five years I
have made only landscapes. But I am more than happy to get back to
abstracts. I think my favorite pieces are those like “Yuba
River” and “Sonora Stone”. These pieces
are realistic but seem abstract as well. The elements have been distilled
down to basic shapes, lines and values. Back to top |
| 5.
How do you start a collage? I begin with an idea — like California’s foothills. Then I head out with my camera. I take rolls and rolls of film. If I’m lucky, I get an image I’m happy to work with. More often, I get a lot of images that are almost what I want. Then I draw. I take a bit from |
 Photos and drawing |
| this one and a bit
from that one and create the final image I want. My drawings are made
with markers on trace. I’ve found that even if I have the perfect
photo, sometimes I need to make a drawing as well. It helps me to
become familiar with the subject and make decisions regarding value
and color. Back to top |
| 6.
Can I have you make a collage based on my choice of subject? Of course! Usually someone has a general idea — like they want something soothing and calming. That’s how I began the “Sierra Stream” series. Only once has someone actually given me a photo and asked me to work from that. We were all pleased with the finished collage, but it is definitely easier for me if I have been to the site myself. In one case, the client and I went out shooting photos together. I ended up making the collage based on one of her photos. I’m very flexible and will work with you. Before beginning fabrication I will get your approval of the final design. Back to top |
| 7.
Your collages look like paintings; why don’t you just use paint? I find I get a lot more depth out of the fabric than I would from paint. Each piece of fabric has its own texture, weave and thickness. These create |
 Detail of Sonora Stone II |
| secondary patterns
I could never get with paint. When I use a brown fabric, it may actually
be made from blue and brown woven together with black. Depending on
how I cut the fabric, I may get a thin blue line at the edge, or maybe
a deep black fuzz. Similarly, I can layer sheer fabrics over one another.
Each layer changes the one below it. Then I can cut or shred or fuzz
the fabrics. All of these effects become design elements, making the
finished collages rich and full of life. Back to top |
| 8.
Do you glue the fabrics together? No, I sew everything. I don’t trust adhesives. If you have any old photo albums (like I do) you will |
 The sewing stage |
| understand. Also, all that sewing adds another design opportunity. The thread becomes an overall texture. Sometimes I use thread to highlight elements (like foam on the water) or to deepen shadows. |
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| 9.
How can we display a fabric collage? I recommend framing behind Plexiglas or glass (depending on the size). Typically, the collage is |
 The framers sewing the collage to the backing |
| backed with canvas.
The framer attaches the collage by sewing it to a backing, typically
sewing through only the canvas layer, usually at 4” –
6”
intervals. This ensures the collage will never sag. I then have a
thick mat (about ½” thick) wrapped in linen. This forms a nice
transition between the fabric collage and the frame. Because the mat
is so thick, it allows the collage’s texture to remain free from
the Plexiglas or glass. Back to top |
| 10.
How durable is a fabric collage? It should be treated with the same care and respect that you would any artwork. Keep it out of direct sunlight and use UV filters on those lights shining on the art. I treat my collages with a UV resistant spray. In addition, they can be framed with UV resistant Plexiglas. With this care, the fabric collage should have the same longevity as a painting. Back to top |
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11.
Where can I see your Contact SMAC (916-566-3988) for a schedule of upcoming tours. You can also find a list of tours on the SMAC
Web site (under AAP Art in Public Places), Go to the "Links"
section of this Web site and click on SMAC.
My second-largest installation is a five-piece series in Sacramento's City Hall. It is located at the corner of 10th and I streets (right across from the Cal-EPA building). There are five floors in the building, and I have a fabric collage installed in the elevator lobby at each floor. The three-piece series, “Sierra
Stream”, is in an office building in Emeryville CA, located
just northeast of Emeryville’s Amtrak station. To get there
from Highway 80, take the Powell Street exit and head east. Turn
left on Hollis. Continue past 59th Street. Turn left into the big
landscaped parking lot. You are there! “Sierra Stream”
is in the first floor elevator lobby of the brick office building.
Consider having a meal in the Italian restaurant at the other end
of the parking lot. It is excellent!! |
| 12.
Where do you get all your fabric? I consider myself an “equal opportunity” fabric user. In other words — I’ll use anything. Much of it is from regular fabric stores. I use a lot of upholstery fabric. I’m fortunate to have arrangements with several fabric company representatives. When they |
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| discontinue a line of fabric they send me their
samples. It is a classic win/win situation. There are few things more
useless than a fabric sample of a discontinued fabric. The only downside
for me is that when I run out of one of those fabrics, it cannot be
replaced. I also add to my stash when various architectural and interior
design firms clean out their sample libraries (I knew my background
as an architect would pay off!). And… I also haunt the used clothing
stores. I especially like men’s shirts. The color and pattern
are usually in the weave, not printed like so much of women’s
clothing. And finally, despite the fact that I have more fabric than
I know what to do with, I never seem to have the right fabric. That’s
when I paint or dye. When I start dyeing though, it’s usually
a pretty long detour. As my husband once pointed out, dyeing fabric
is about as efficient for me as tying flies is for him. Then again,
efficiency is not everything! Painting is much quicker. I can paint
in the morning and use it in the afternoon. In the summer it’s
so hot in Sacramento, I can use it in a few minutes! I especially
like using hand-painted silk gauzes. Back to top |
| 13.
How much do they cost? There is no clear formula. It is based on size and complexity. As I mentioned earlier, the longest time spent fabricating a collage was 425 hours, and that was a 42”X42” artwork. Some 50”X50” pieces took much less time. Also, the smaller pieces take the same amount of time to design as the larger pieces. I prefer to quote a price after we discuss subject, size and complexity. Generally, the more involved the approval process (as in public art or multiple clients), the higher the design fee. Back to top |
| 14.
How much time do you work in the studio each week? I like what I do so much that I run the risk of becoming a workaholic. I try to keep some balance in my life. Having a husband and a son help keep me in touch with that side of my life. When my son was younger, I would bring his |
 Marshall biding his time |
Nintendo into the studio and hook it up to my little TV. That gained me a little more studio time! On the average, I work when my son is in school on weekdays, and usually one weekend day. Then again, when I’ve had a tight deadline, I’ve been known to work a seven-day week. |
15.
Do you teach classes or give talks? |
