Primary Source Description Draft One

A moon glows near the center of the panel. Aligned on the vertical axis that cuts the panel square into two coffee-table-sized halves, the moon first appears to be silver in color. Upon closer inspection, the moon reveals itself to the viewer. A shimmery green like the underside of a maple leaf draws a stripe from top to bottom on the moon. Just to the left of the moon’s center, this soft, mint green stripe nearly disappears into the moon’s swirling grays and lilac tones.

Circling the moon’s neat, spherical shape is a light cream-colored outline. White/purple marks shoot unevenly from the burgundy space around the moon. Symbolizing the moon’s radiance of light, these white marks contrast in both material and boldness with the moon’s solidity. The moon’s radiance is faint, drawn by hand with what could be chalk. Though the moon is full, its light is subdued in power. The moon’s overwhelmingly silver color contributes to its quiet brightness.

Once one expands one’s focus from the moon, star-like shapes become apparent. Acting as a spotlight in the quilt panel’s sky, the moon rests at the apex of a triangular section of stars, though the stars do not form a shape nearly as geometric as the moon, however. Altogether, the stars appear similar to a skinny stingray, or thick boomerang. If the moon is the kneecap of a bent human leg, then the stars on this fall like a curtain beneath it. Some stars are brighter than others. Some stars shine alone, yet others flash at the viewer from busy clumps. A burgundy wine color splashes in the space between the stars, complimenting the deep black fabric found above the stars on the block.

Beneath the stars, a representation of a tall, wooden structure juts from the bottom of the panel. The structure’s center column upholds a horizontal wooden frame. Providing additional support to the rendered horizontal platform are two similarly-colored pieces sticking out from the center column like short, thick arms. These two pieces form two right triangles underneath the structure’s horizontal platform, yet these triangles are not identical. Both of the triangles’ hypotenuses face the open red velvet material surrounding it, whereas their shortest sides are contained within the horizontal bar above them.

An orderly row of colorful spheres sit atop the horizontal frame. These spheres resemble a row of Smarties or even a candy bracelet, exuding colors of red, green, orange, purple, turquoise, yellow, and pink. There are sixteen of these circles, and nearly all of them contain shading that suggests an indented center. These sixteen spheres are some of the smallest circular shapes on the quilt panel.

Two sticks upholding two dime-like circles jut from within the row of round candies. Similar to the moon’s size and coloring, these two circles are only slightly smaller, like baby moons. These two circles lean inwards and towards each each other, touching at several points along their surface. These dime-colored heads protrude into the quilt’s star-filled sky.

There are three sections on the quilt panel. Reflective silvery material similar to the color of confetti has been cut into triangular shapes at the top section of the quilt. These reflective triangles are dissimilar in shape and size. Some of the triangles look like they could be tossed in a cornhole match; these are the flexible, bent, or otherwise warped triangles. Other triangles are long, scalene sword sheaths; still, others are fat, isosceles pizza slices. What these triangles have in common, though, is significant. All of the triangles point towards the moon. Like a halo of shards of glass, the triangles come from directions above the moon, beside the moon, and even below the moon. From 8:00 to noon on the left side of a clock, and from 4:00 to noon on the right side of the clock is where these triangles occupy the panel’s space.

Not all of the triangles have names, but thirty three of them do. The names are as follows: Shawn Buchanan, Mario Z., Alan Noseworthy, Alan Kanghi, Alan Magioncalda, Tony Devizia, Greg Koulis, Bob Updegrove, John Mensior, Tommy Ayala, “Michael Beck, M.D.,” Hector Garcia, Bill Bruno, Jim Hicks, Elliot Siegel, Mel Albaum, Robert DeVito, Jim Leys, Joe Palmeri, Julio Morales, Jorge Villaroel, Jürgen Honeyball, Victor Zaragoza, Peter Spar, Mark Ackerman, Mel Fante, Peter Vogel, Frank Olivia, John Reed, Bruce Crave, Tom Clancy, Eddie Lopez, and Joe Semiday.

In the left bottom corner of the panel, the words IN MEMORY OF THE MEMBERS AND STAFF OF are completed by the ones followed in the right corner of the panel: THE SAINT DANCE CLUB OF NEW YORK CITY. The text of the names and the aforementioned memorial note is smaller than that found at the very bottom of the quilt panel. In black lettering overlaying a thick strip of the same shiny material found in the top section of the panel are the words HOLD ON TO MY LOVE. A cream colored border an inch wide surrounds the entire quilt. Reddish bead sized circles evenly dot the border.

 

 

 

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