Suzanne Forbes, an expat New Yorker in Berlin. Made possible by the generous support of her Patrons. https://www.patreon.com/SuzanneForbes. Former DC Penciller for Star Trek, former courtroom artist, painting portraits and teaching drawing.
From the beginning it was clear that teen mutant Doug Ramsey and Warlock, a techno-organic being who was identified as “he” upon arrival on Earth, were in love.
Art from New Mutants #21 by Bill Sienkiewicz and Glynis Wein, one of the most charming scenes from a charmed run.
You don’t call just anybody your “selfsoulfriend”. Doug Ramsey, aka Cypher, was the local computer nerd – until he met an alien teen robot who lived on lifeglow and they were suddenly thisclose and loving it.
One of the most wonderful things about the X-Men and New Mutants for me as a queer kinky teen in the 80s was how casually gay and freaky everybody was.
Sure, it’s totally ok to be in a deep psychically linked relationship with your (assigned as) same-sex team-mate, even if they’re sort of a robot and from outer space! Or a werewolf!
It’s all good, and safe, inside the X-Mansion.
The safe harbor that those 80s stories represented for queer teens reverberates forward through time, to the young people who continue to discover them.
I myself was extraordinarily blessed to live with a mother whose radical acceptance of me and my freaky friends created an IRL safe harbor.
I was blessed enough, in the 80s, to have a mom who would take me and my girlfriend to brunch.
But most queer teens didn’t have that in the 80s, and so many still don’t have it today.
Especially for trans kids, Warlock’s total control of his physical form is an exhilarating notion. His gender was clearly only assigned as male because of the limited thinking of the era; to today’s non-binary kids it’s obvious ‘Lock is a they. In the age of tumblr (RIP) and AO3, Doug and Warlock as lovers are an arena of profoundlycreative and experimental sexual ideation.
I wanted to honor those young people who love these characters by the way Doug and ‘Lock are represented in my X-Men dollhouse. And also gently acknowledge what a funny, square little geek Doug was in the ’80s. He had a wholesome quality that really flared against the teleological darkness of characters like Illyana. And his hair was SO 80s!
Spidey in civvies action figure custom by Jacobs Toys
He’d used a Tom Holland Spider-Man head and a Lex Luthor body to create a Peter Parker in civilian clothes.
The recipe, as action figure customizers call it, was perfect for my version of Doug. (‘Lock, a Build-A-Figure released last year, was already perfect).
Doug should be in civvies, of course – his uselessness in the field was legend. I don’t know why they ever gave him a uniform!
And Tom Holland’s face has exactly, exactly the boyish handsomeness of Michael J. Fox and Matthew Broderick in the 80s. He sells the wide-eyed mischief and wonder of a teen with super-powers in the most incredible way. (I loved Homecoming! Gonna go see the next one next week!)
Well, actually I also filled in the peg-holes on the bottom of his shoes and gave them sneaker texture, also with Apoxie Sculpt, because he’d be sitting crosslegged and I am slightly a perfectionist 🙂 And I also covered hair and shirt with Matte Mod Podge and then sprayed them with Matte Acrylic Sealer, as I learned on this excellent customizing site, to protect the paint.
I hope this sweet pair of lovebirds pleases the folx who love Doug and Warlock, and love their queer, trans, geek-robot love.
In 2001 I used to sit at my desk at ESC, the visual effects company where I worked on the Matrix sequels, and read about “orange peel” and paint rub.
Painting plastic has evolved over the years, but it’s still unpredictable. And moving from the US to Germany meant everything I’d learned about Krylon and Rustoleum had to be thrown out the window and relearned with Dupli-Color. Dupli-Color, founded in the US but now the ubiquitous hardware store spraypaint of Europe, has several different formulations for priming and painting plastic.
For the last four years I’ve been trying to learn all their tricks; I talk a lot about techniques I used for my last bas-relief insect project here. So when I wanted to make a seat for our hallway, I felt pretty confident.
Because we don’t have cell phones, but we do have a landline, we needed a little seat for the telephone in the hall.
We’re always dragging a chair in from the library when we need to call a doctor or something. I had the idea of buying a simple boudoir stool on Amazon and decorating it to fit the hall, which is perhaps the creepiest part of our whole creepy house. I ordered it and it arrived. I removed the seat, which I planned to re-cover, and wiped the whole stool down with cleaning wipes, then damp paper towels. I used the glue gun to adhere a bunch of plastic bugs and resin flowers around the existing bas-relief floral decorative elements. I had previously washed the bugs and primed them with Dupli-Color clear primer for plastic.
Then I used epoxy clay to really blend the new elements onto the base. Thinking I could expedite things (epoxy clay is a beautiful material for conjoining disparate materials, but expensive and slow) I also used some regular tube spackle for some of the big gaps. To smooth and unify all the surfaces, I painted many areas with Mr Surfacer500, a Japanese gap filler/primer product for model builders. Its grey surface is supposed to function as a primer, so I wasn’t worried about it not adhering or not accepting paint. Then I sprayed the areas with the bugs again, with the Dupli-Color primer. Here’s the original stool out on the balcony at that stage, last July.
Then I spraypainted the whole thing. WOOOOOO what a mess.
Yeah that did not work. There was some kind of reaction between the painted cast resin decorative elements of the stool and the plastic primer, or between the Mr Surfacer500 and the spackle. Tiny bubbles appeared all over the work I’d done, the areas where I’d filled crevices around the bugs to make them look carved from the surface.
Plus, the paint on the original resin elements had become tacky, which means disaster for a mixed-media work. It means there is a reaction preventing the curing of the paint, and that area will never harden and will attract dust for all time. Possibly a reaction between overspray of the Dupli-Color clear plastic primer, which is a chemical scuff, and the paint used on the resin elements.
My project was fucked. I took the picture above to show the chunky, unevenly cured surface, but you can’t see all the damn bubbles!
So I decided I’d remove the paint and re-prime the entire thing.
Guess what, I had primed the bugs and new flowers so effectively that the paint was virtually inseparable from them. And the original curliques and flowers just got gunkier with every solvent I tried. In the end I was trying orange oil and baking powder, which will take off damn near anything, and scraping sections with a dental probe, because I just hated the idea that this was a thing that had to be thrown away.
I could not get a clean surface. I could not get the paint off. I did salvage and scour one centipede, because plastic centipedes with a flat underside are hard to find. Here it is soaking in olive oil to remove the last of the paint.
Luckily, I got a new dollhouse which took my mind off the maddening primer/solvent/paint mess, and eventually I brought myself to throw the bug stool base out. Because it had so many different materials on it, it couldn’t go in any of our German recycling bins. It bothered me.
But it bothered me even more that we were still dragging a chair into the hall to use the phone!
So I decided to try again. I ordered the same stool, and set to work. But this time I tried a new approach, from a new action figure customizing blog. A bunch of incredible tutorials had gone up in December on a site called Action Figure Art. One of them suggesting sealing acrylic paint with Mod Podge! I was ready to try this new approach.
I had used Mod Podge as a primer for a plastic toy exactly once, back in about 2002, to prime a little cat figure for the top of a wedding cake I was making. But I’ve used it for various other projects over the years, mostly for decoupage. It is popular for furniture as a glue, primer, sealer and finish, and comes in different formulas. I ordered the matte finish for the bug seat, because I wanted to paint on top of it with acrylic paints.
Of course I did the usual prep of washing the bugs with hot water and soap, and I used the glue gun to attach them again. I took my time filling in around and under the bugs with Apoxie Sculpt.
This second attempt was during my Make-Cation, so I had plenty of time.
Here you can see the stool in progress along with some other projects, including the Baroque Bug Frame, which I used the same technique for. Pictures of the frame finished here!
Mod Podge is a like a rubbery plastic coat you are sealing everything under, a form of isolation coat. That’s why it prevents chemical reactions between plastics and paints. Because it’s thick, it also does some gap filling and overall smoothing. I used about five coats over the panels with the bugs. Then I spraypainted the whole thing, with Dupli-Color Next in Berlin Berry.
Dupli-Color Next is a “universal” spraypaint, one of the new class of acrylic lacquer spray formulas that’s supposed to go on almost anything without primer.
A similar product is Krylon ColorMaxx. I have found Next to be inconsistent in finish – some areas dry shiny, some matte – but it’s easy to use, with flexible recoating time and low-odor/toxicity. Since I was planning to put a gloss acrylic sealer coat over everything, I didn’t care about the problems with inconsistent finish. It took about two cans total to really cover the whole stool, which is a good example of how spraypaint is actually an inefficient and expensive way to paint things! However, the paint adhered to the Mod Podge finish really nicely.
Then I started painting on the details.
Because Next spray is acrylic lacquer, not enamel, I could paint on top of it with regular artists’ tube acrylics. I did layers of black wash, then dry-brushing highlights, then lowlight passes. In between the accent paint layers, I added additional layers of Mod Podge. This ensured each batch of highlights was sealed under a protective coat. If I went too heavy with a highlight, I could wipe it off without disturbing the black wash underneath. I can’t even tell you how many layers of this I did – gotta be at least ten. Each Mod Podge layer helped the bas-relief, carved-on effect.
I also did some sponge-painting effects and scumbling on the panels themselves, to give a nice Impressionist quality. You know how those Impressionists loved cockroaches.
At the very end I used an acrylic-based (rather than solvent-based) gold marker to add a few more highlights. Cause I’m so subtle. Then I let it all cure for a couple days. I had also spraypainted the legs of the stool, with the Berlin Berry, and let them cure too.
Then it was time to spray the fuck out of it with Gloss Acrylic Sealer Coat!
The outrageously comprehensive Mod Podge craft site Mod Podge Rocksrepeatedly states that to truly get a hard, non-tacky finish on your Mod Podge project, you need to seal it. That seems pretty shady, since Mod Podge itself is supposed to be a sealer, but I wasn’t taking any chances at this point. Acrylic sealer it was, and four coats!
Finally, I attached the recovered seat with the incredible velvet death’s-head moth fabric.
Wow that fabric was a close call. It’s actually a cut-up dress from a goth clothes company called Killstar.
I ordered the largest size they had praying it would cover the seat without a seam, and it just barely did. Killstar have a lot of custom fabrics made and I knew I would never, ever find this fabric anywhere else. It was a hard call to buy a brand-new dress, for forty euros (of course I used a coupon, you know me!), and immediately cut it up. But I knew that the pleasure of seeing the fabric on the stool, day in and day out, would be far greater than having a dress in the closet.
The velvet-and-gilt purple upholstery braid I ordered from the UK covers the places the fabric doesn’t quite stretch!
It was my beloved Friend-Muse-Patron Monique Motil who came up with the idea of “Make-Cation”.
Monique has always been my inspiration for mixed media and assemblage art, and I learned so much about how to trust my creative impulses around materials watching her work evolve over the years. I did my first Make-Cation in Fall 2017, and for eight days in March I did it again! It was a glorious time of renewal, full of energizing fiddling, fooling, fussing and gluing! Nothing makes me happy like taking a hacksaw to a plastic toyl!
It may surprise some people but drawing and painting isn’t “fun” for me. It’s hard work where I put my whole identity on the line every time and demand the best I can possibly do from myself. Like going to the gym, it feels great in the sense of being healthy, rewarding and good for me.
Plus there is a huge added bonus in that it gives happiness to the people I document and helps to share their stories with the world. So it is deeply meaningful and feels like service, which I love.
However it’s hard work, and I do it pretty much all the time, so I took a week to do the art that feels like play – making stuff!
Touching and handling beautiful materials like velvet leaves, gold wire and garnet beads makes me feel nourished and exhilarated.
I started on Day One with these cheap pot metal crowns and the heaps of metal leaf charms and stampings I’ve had for years.
I used beads and pearls and resin and glass leaves too, and sewed everything in with different weights of gold wire, then secured it with blobs of E6000.
I learned about using wire to secure decorative elements when I did a Halloween party with the help of a guy who had run commercial haunted houses, in 2001. He said anytime you want something to stay put, wire it in.
I figure people can wear the crowns whenever we finally have our Summer Solstice party.
Then I gave some bugs a bath.
One thing I have learned from action figure customizing folks and Burning Man art folks is that assemblage art lives or dies by its adhesives and primer coat.
The plastic bugs got a nice soak in very hot soapy water to remove any traces of mold release so they would accept paint and glue better.
Once they were completely dry I went bug crazy with the glue gun. I had been wanting to make a gothic rococo gilt frame with horrible insects for many years.
I recently found a €3,99 plastic frame at our local Woolworth’s (we still have those here!) to use as a base. I washed the frame in hot soapy water too, to remove any oils or dirt, and then attached the bugs and some resin flowers with the glue gun.
Once the glue was cooled and set I used my precious Apoxie-Sculpt to unite the bugs with the frame, smoothing their edges into the surface so they look more carved or bas-relief. (You can read more about this here.)
Then I coated the whole thing with Mod Podge, which I’ll explain in the next Make-Cation post, and then I spray-painted it gold! Few things are as gratifying as gold spray paint.
I also cut some pieces of cardstock to fit some of the gaps in the frame, because I needed to reduce the visual detail after adding the bugs – I wanted to it read clearly from a distance. To help that, I also sprayed it from below with a light mist of black spray paint.
I am so pleased with how it came out. Look how nicely the plastic spider sits at the top! I made a little decoupage piece to go in it using die-cut butterflies and some Dresden trim moons I got at Castle In the Air like 20 years ago.
I Mod-Podged them right onto the black cardboard that was the backing of the frame, because I am a deeply lazy person.
I also made some Cernunnos crowns, because you never know when you’ll need those.
I used “reindeer horns” I got on eBay and headbands from Woolworth’s for these, plus some velvet flowers and leaves and stuff that I had hoarded, some from like 1995.
I love how they came out, it is just so satisfying to use up these beautiful old materials and make them into actual things.
Of course I barely made a dent in my supply hoard, but there is world enough, and time, for more creepy assemblage art.
I made two other things, a completely insane little seat for our hallway, and a little fascinator hat, and I will post those soon!
So much love to my Patrons, who support my creating and making, and made this precious window of creative play possible <3 You can see more of my multi-disciplinary mixed media projects here.
I made this doll as a sort of summoning spell/eidolon/telepresence device for my friend Eliza Gauger.
Eliza lived in Berlin at one time, and may return someday. The idea is that the doll holds a space for her here, whenever she’s ready to return, and when she does arrive she can have it as a gift. Until then, it will sit on my shelf with my Alien figures from a beloved friend/muse/Patron and cards from friends.
Eliza is, of course, the artist/creator of the Problem Glyphs open source art project and book. Which is a healing spell of love and sacrifice, a work of sustaining power.
Eliza was also one of the people who sent us money when we were desperate, the first couple months in Berlin, cause Dan couldn’t work and we had to pay cash for my meds.
And Eliza had a hard year, this year. You can support her work on Patreon and download open source Problem Glyph art here, buy your own copy of the Problem Glyphs coffee table book here, buy Problem Glyph t-shirts here, request a sigil for your own problem here, buy original art and prints here, and follow her shitposts on twitter here.
I started the doll months ago, when I noticed one of the porcelain fairy heads I bought at a craft store in St. Paul, Minnesota in the early 90s reminded me of Eliza. At the same time, in the doll parts drawer, my gaze fell on a little leather jacket. It was from a Living Dead Doll I bought in the early Oughts, which I had cut up and redressed for some other project. The vision of the Eliza Reserved Parking doll came together in minutes, scrabbling through the drawer.
But – there were no arms in the doll drawer! Just a grubby baggy of taxidermy weasel feet.
Video of this disappointing moment on my IG video here. I found the fairy mint-colored ones, from a Monster High body sold withouten any head, online. The arms have ball joints and pegs, which I inserted into shoulder pieces of epoxy clay, thus meaning the doll has some posability.
Their body (the doll is definitely non-binary) is made with the traditional batting-stuffed cotton body, and their legs are porcelain ballerina legs that I made stockings for and gave boots from a totally different Monster High doll. I used grey nail flocking, just like the flock I used on the White Witch’s reindeer’s ears, to give the doll’s head some pale, glinting texture.
During the time I was making the doll, Eliza got a dog.
A gallumphing nightmare beast of a lolloping moor-rambler, with glowing eyes and black fur. Luckily, while searching through a box of action figure bases for Sentinel parts for my upcoming Danger Room project (which will go under the School for Gifted Youngsters), I found a nice black wolf. Maybe he came with a Wolverine figure? Idk.
Anyway I had exactly enough left of the deep purple glove leather trim I got from an LA handbag manufacturer on etsy back in 2005 to make the terror goggie a harness. And while I used silver Sharpie and a bit of drybrushed gray acrylic to reduce the albedo of the micro-rhinestuds on the doll’s jacket, I left the ones I glued on the dog’s eyes alone. Hence, the glittering.
So here it is, “Parking Space Reserved for 3Liza”, a work which will hold a space of love and protection here until such time as Eliza collects it.
It is now fully wallpapered, permanently assembled and has a base, thanks to power assists from my husband and mom. The grooves in the floor are for the wiring for the lights.
Getting it put together wasn’t *hard*, per se, at least not in terms of structural complexity – but there were a lot of pieces that had to be glued in the right order, and the gluing had to happen all within a very short time.
Any errors were mine, in terms of not quite lining up the wallpaper perfectly here and there, but luckily trim covers a multitude of sins.
If you’re willing to stain, sand and miter-cut it, that is!
Oh, how I hate staining, sanding and miter-cutting trim.
I also hate putting on dollhouse wallpaper, but it had to be done.
I used Streets Ahead dollhouse wallpaper paste for this house, instead of Yes! paste, and it did not have the greatest adhesion.
It was repositionable and didn’t warp the papers, though.
I skipped the step of spraying all the papers with matt fixative to strengthen and waterproof them this time, and I shouldn’t have, as they tore a little here and there when wet with paste. It was fixable or not noticeable, but that step is worth doing. I did the wallpapering before the final assembly of the house, on the panels, rather than once the house was assembled, like my first house.
I kind of think there are pros and cons to each way.
There was a huge amount of measuring and cutting, which I do not like.
I guess actually I like having a finished dollhouse to create a work of art in, and planning and choosing the components to build and decorate the dollhouse, but I don’t actually like the building the dollhouse at all. Ah well! It must be done!!
At least there’s no soldering now I’m using LED lights with battery converters. More about that next time.
Meanwhile, my beloved mama came to Berlin and brought the perfect 80s kitchen I found in Canada and had shipped to her (it would have cost about a million dollars to ship it here!) It arrived missing a piece but luckily I found that piece from a UK seller and it should get here this week.
I need to put a final coat on the front panels, install them, install the windows and front door, install the wiring for the lights, and then miter cut ten million pieces of ceiling trim and floor trim.
Oh and put the stairs together and install the floors and carpets and the ceiling paper and…
I still think it can be done by Christmas. I’d hate for the X-Men to spend another holiday in storage 🙂
Some new decorative art projects for this month. I finally made a bug box with labels!
Rather than look for a vintage typewriter font I dabbed the inkjet printed paper in patches with water to smear some letters and rubbed it with a bit of pastel for quick aging. For the curious, I use tinfoil molded into squarish shapes around the pinbacks of the jewelled bug brooches.
This allows me to glue them onto the backing securely and keep them straight. Then I just paint the glue and foil a matching color.
I buy the brooches on eBay with the simple rule: no more than 2 euros including shipping. It means I bid on a lot of auctions, but it’s not like there’s a rush!
These machine-embroidered bugs are from EmbroideryMoks, a wonderful, ingenious etsy/eBay seller in Ukraine.
The artisan who runs it, Julia Yevzhenko, is brilliant. She has come up with some really clever ways to use her embroidery machine. I tacked these bugs down to the felt with flexible glue, then put the felt in an embroidery hoop and used black, gold and metallic threads to add details and make the edges crisp. Of course I also had to add some beading!
I’m kind of like a drag queen in that my first question is always, “How would this look with MORE?”
I made these beaded insect shoe clips with two bug brooches wired to triangles of soft aluminium sculpture mesh lined with felt.
I probably over-engineered the fucking hell out of them, since it’s not like I’m a burlesque performer and I don’t plan to go jogging in these shoes. But entropy makes me furious and I like construction to be robust.
Once again I demonstrate my commitment to the creative protocol of buying cheap stuff and making it weird.
Dang, I have been consumed with this long-delayed project!
SOOO much to do. So many things to figure out. So much foamcore to cut and glue. So many pipes to make out of styrene and straws!
But I am really making serious progress.
Three of the rooms are almost complete, the operating theater (above), the Tube Room, and the Machine Shop.
What on earth is a Tube Room, you might ask.
Well, in the 90s I had a dear friend named Rob Simpson, who was an editor at DC. We were talking about superhero powers, as we did so often, and he said there was a simple solution to most things in comics.
Somebody loses their powers/needs superpowers? “Put ’em in a tube!” Somebody is dead and needs to be restored to life? “Put ’em in a tube!” Somebody has an evil entity possessing their psyche and needs to be held in stasis so they don’t destroy the world? “Put ’em in a tube!”
Tubes are also known as pods or stasis chambers. Basically they are a MacGuffin where anything can happen. The McFarlane Toys X-Files line from the Oughts provided most of these tubes.
They were intended for alien containment of some kind. I built out the structure around the one above using illustration board covered with chrome selbstklebefolie, which is like contact paper you can’t remove, styrene tubes and the various lids of things painted chrome.
The Machine Shop also contains the break room/coffee bar.
I figured people would be constantly bothering the engineers in the shop for things they want fixed anyway, so they might as well get their coffee while they’re there. The two women robots are “Platinum” from the Metal Men and Angie Spica, “Engineer” from The Authority.
All the rooms are missing a lot of signage and posters (I’m working on figuring out how to get the best results from the self-adhesive inkjet-printable paper I’m using) plus safety tape.
On the right you can see I’m making stanchions for a safety rail using dowels, epoxy clay and blue pearl half-rounds I kept for eight years because I had a feeling I might need them for something.
Most importantly, all the labs need their ceiling panels and lights.
My beloved Friend-Muse-Patron Monique Motil, a fellow creator of Small Art, will bring the lights in May, and then I’ll figure out how to install them, woohoo!
Yes, there will be a “Safety Third” sign!
First Laboratory post is here. Main dollhouse post here.
It wouldn’t be February without creepy dolls, right?
Here’s a little dollhouse shadowbox I made. I customized a vintage Living Dead doll by giving her antlers and the shiny chrome arm projecting from her chest I’ve always wanted myself.
Come on, haven’t you ever wanted a slightly smaller, heat resistant velociraptor arm that pops out of your chest to grab the spilling pot when both your hands are already full?
The antique dolls are wearing little dresses I made them.
I also made a couple of bug shadowboxes, cause you can never have enough of those!
And more bug earrings, with tiny cast glass cicadas I found. You can see the Valentines Monster Doll Armada, which I was consumed with making for much of last February, here. Some of them are still available to purchase. The February 2016 Scary Mermaid doll post is here. And the previous batch of bug bricolage is here.
More bug stuff, because it’s not like our house can have too much creepy bug decor.
I made this mantis shadowbox using some 1970s upholstery fabric I got in Berkeley in the late 90s, some vintage velvet flowers and little bees saved from the same era, and a machine-embroidered mantis from this amazing artist in Kiev, who is doing totally innovative textile art with the digital embroidery tech now available.
I’d always wanted an egg glossary display box.
No natural history, curiosity cabinet-themed library is complete without one! I used the 70s fabric again; a glue gun is my method of choice for stretching even wrinkled fabric smoothly across the particleboard backing of a shadowbox. Some of the little speckled eggs and the grapevine nest came from topiary ball displays I made for my first wedding, in 1993 or 4.
I have nights where I crash around the flat asking, “What would Tony Duquette Do?”
And the answer is always, “Glue gun, Passementarie, MORE.” I added a couple trims to this silk velvet patchwork upholstered bench. After the intensity of the first three quarters of this year, with teaching and drawing and painting and my hub becoming a cyborg and being sick quite a bit, I really need this November make-cation.
I made a display holder for some of the earrings I’ve sculpted, made and modified.
I just took the glass out of a deep frame and gluegunned fabric to the backing. I used a beautiful textured knitting yarn left over from some lovely crochet blossoms my mom made me; the texture keeps the earrings from sliding around.
And most significantly of all, I got one of my first adult textile art pieces back up on display.
I made this mantel scarf of crushed changeant velvet and celestial Czech glass buttons and bead embroidered wire and pleated ombre ribbon cockades in 1999.
I was living with my second husband in a gorgeous Craftsman fourplex in North Berkeley. It was the first place I ever painted like I truly wanted my home to be, in insane shades of aniline violet, quinacridone red, and chartreuse. It was full of built-ins I decoupaged with gilt paper Dresden trim, Victorian frogs and lizards, and accented in burnt orange.
We gave such parties there. It was such a beautiful home. I loved my second husband, or who I thought he was, so much.
This piece was in storage for a long time, and it hurt me every time I came across it in my increasingly desperate and disenfranchised moves.
When the Great Recession finally ebbed a bit and I moved in with the man who became my third husband, I thought about getting an electric fireplace, where it could be displayed. There just wasn’t enough room in the exquisite jewelbox Craftsman apartment in Oakland that I designed to showcase his Black Irish beauty.
Here in our home in Berlin, we have plenty of room.
I used my glue gun to apply an emerald botanical brocade to the top of the particleboard shelf I had attached to the top of the electric fireplace I got on eBay.
Again, using a gluegun and moving fast, smoothing the glue flat with my fingers as I go, allowed me to get a nice flat surface bonded to the mantel. Then I just gluegunned the mantel scarf onto the brocade and added a few tacks to stabilize. I’ll add some finishing gimp braid and brass upholstery tacks soon as I get around to making it to Bauhaus.
Sorry I couldn’t get a better picture in our dark haus but we like it this way :))