Sewn to the sound of jazz
- Michael's quilt designs draw on the Harlem Renaissance, African Diaspora and beyond
- His pieces have widely influenced the current generation of quilt artists
- He constructs his quilts on his studio floor with a domestic sewing machine
Michael A. Cummings grew up in Los Angeles, and first encountered art when a school trip brought him face to face with Van Gogh's Sunflowers. A turning point came in 1975 when he volunteered to make a banner for the Department of Cultural Affairs. Michael taught himself how to sew on a seamstress' machine, learning from embroidery books borrowed from libraries in the process. So began his path in quilting. For decades the only Black man making narrative quilts, Michael's pieces feature in numerous American collections, including the Brooklyn Museum and the National Museum of African American History and Culture. “I listen to jazz while I work and that rhythm influences everything,” he shares.
INTERVIEW
Colour is central to all that I do. My mind is always trying to match the intensity of colour. In 1990, when I made 12 quilts in 12 months for my African Jazz series, I wore myself out and had to work with greys for a while!
With Josephine Baker, I studied photographs and footage of her and I watched her farewell concerts in Paris and around the world. As with my other pieces, the outfits I put on her come from real clothes. I often find dresses in flea markets. I sometimes use the front of a dress for one quilt and the back for another.
I am very disciplined. I will come home, change clothes, eat and then work for three or four hours. I use a wind-up alarm set for an hour. When the time is up, I stop, review, think and set the timer again.
The early degree in business I never wanted turned out to be a blessing because it meant that I could always find work and fund my art. Most importantly, I would advise believing in yourself and surrounding yourself with friends and family who support your work. Tomorrow is not promised.
